Famous theaters in Great Britain. Theatre, opera and ballet in Britain
The main theaters in London: drama, musical, puppet, ballet, opera, satire. Phone numbers, official websites, addresses of London theaters.
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The world of London theater is large, diverse and covers all genres existing in nature. Well, since this is London, here (if you know how) you can even find those genres that have not yet been fully born: the whole world will be talking about them in a year or two or three, but for now almost no one knows about them.
In London, accordingly, there are many theaters, very different in terms of the quality of productions, repertoire and price. There are magnificent classical troupes with guest opera stars in leading roles, there are productions of modern drama (mostly, of course, British), there are experimental theaters, and a lot of commercial theaters, in which Broadway (and not only) musicals are continuously shown. Some of them are just good, some are historical and very old, and some are completely unique.
The British do not go to the Globe Theatre, a constant center of tourist attraction. But they go to the Old Vic theatre.
The most famous
The most famous, serious and fundamental theater in Britain is, of course, the Royal Opera. This is one of those theaters that defines the face of the modern stage. The productions he created are then staged by other theaters around the world, the leading roles are played by world-famous stars, there are simply no bad performances, connoisseurs from all over the world come to the premieres. It also houses one of the best symphony orchestras in the world. This is what is always great and interesting.
Another famous theater is the Theater Royal Drury Lane. It holds a special place: it is the oldest working theater in Britain. It was once the main one in the country, remembers all the English monarchs over the last 3 centuries, and now it belongs to Andrew Lloyd Webber.
The Drury Lane Theater now only produces musicals. The troupe is serious - for example, it was this theater that received the right to make a musical from The Lord of the Rings.
Another large theater is the Coliseum. A large troupe, an extensive program, you shouldn’t count on a staged masterpiece, but an unusual and interesting building - a masterpiece of the Art Deco era. It's also easy to buy tickets here.
The Globus Theater is a constant center of tourist attraction. The reconstructed Shakespeare theater, performances are performed as the theater worked in his era. Accordingly, almost only Shakespearean plays are staged here. The British don't come here, but it's a good option for tourists: there's a pretty good Shakespearean troupe here. Well, the reconstructed building is interesting to see - it was built using ancient technologies.
But the British go to the Old Vic. This is also a very old theater, it is non-profit and specializes in classic and modern British drama, there is a serious drama troupe. It's worth going here if you like good prose and don't like commercial theater.
Musicals and contemporary productions
Commercial theater is a separate article. Almost all such theaters stage musicals, and in all of them there is only one performance at a time (the same one every day for years and decades). Almost all of them are concentrated in or around Covent Garden. The Queen's Theater hosts the famous musical "Les Miserables", the Her Majesty's Theater (an old one, by the way - it's over 300 years old) - "The Phantom of the Opera", the Novello Theater - "Mamma Mia!", the Lyceum Theater - "The Lion King" " etc.
Some musicals are so good that one of them is worth going to see, even if you don't really like this genre in principle: they are made in such a way that perhaps your opinion will change. The most promising in this regard are “Les Miserables” and, of course, “Cats”.
In addition to entertainment theaters, Covent Garden has many drama theaters that stage modern plays. The main ones are Wyndham’s Theatre, Ambassadors Theatre, Apollo Theatre, Duchess Theatre, Theater Royal Haymarket (also almost 300 years old) and the already mentioned Old Vic. There are serious plays, there are comic plays, there are classics, and quite a few Shakespearean plays. To visit these theaters you need to understand English, otherwise it will not be interesting.
Also in London there are all other types of theater possible in principle: experimental, cabaret, amateur, informal, ethnic - whatever.
Tickets for the Royal Opera can only be purchased in advance; for other theaters, tickets can be purchased right before the performance.
- Where to stay: In numerous hotels, boarding houses, apartments and hostels in London and the surrounding area - here you can easily choose an option to suit every taste and budget. Nice three- and four-star B&Bs can be found in Windsor - and the air here is wonderful. Cambridge will delight you with an excellent choice of hotels and proximity to the student “get-together”.
the very best
Globus theatre
London, SE1 9DT, Bankside, 21 New Globe Walk
The Globe Theatre, one of London's oldest theatres. Today's Globus is the third theater with this name. The first Globe Theater was built on the south bank of the Thames in 1599 at the expense of a troupe of which William Shakespeare was a shareholder.
City Department of Education of the Administration of Polysayevo
Information and methodological center
Municipal educational institution
"Secondary school No. 35"
History of theater in Great Britain
Research project
Polysayevo 2007
City Department of Education of the Administration of Polysayevo
Information and methodological center
Municipal educational institution
"Secondary school No. 35"
History of theater in Great Britain
Daria Putintseva,
The proposed research paper describes the history of theater in Great Britain. The research project characterizes English theater from the Middle Ages to the present, its directions and trends. The work traces the formation and development of the main theatrical trends, the originality of theatrical struggle at different stages of historical development. Special attention is paid to the issue of the national specifics of English theater.
History of theater in Great Britain: research / . – Polysayevo: Information and Methodological Center, 2007.
Explanatory note
Goal of the work: familiarization with a foreign language culture.
Job Objectives: expanding cultural knowledge of Great Britain.
English theater is an integral part of world culture. The best traditions of national English art have enriched the world theatrical process. The work of English actors, directors and playwrights has won love and recognition far beyond the borders of England.
The work of actors, directors, and playwrights from Great Britain has long enjoyed recognition and love in Russia.
The history of theater has long been associated with the history of mankind. From that initial page of history, as humanity remembers itself, it also remembers the theater, which has become its eternal companion.
Do you love theater as much as I love it? – our great compatriot Vissarion Belinsky asked his contemporaries, deeply convinced that a person cannot help but love the theater.
Do you love theatre? More than 20 centuries ago, the great fathers of ancient theater Aeschylus and Sophocles, Euripides and Aristophanes could have asked the same question to their spectators who filled the stone benches of the huge open-air amphitheaters of Hellas.
Following them, already in other centuries, other historical eras, Shakespeare and Ben Jonson in England could have addressed their contemporaries with a similar appeal. And all of them, having asked the people of their time: “Do you like theater?” - would have the right to count on an affirmative answer.
English theater, literature, music are an integral part of world culture. The best traditions of English culture have enriched the world cultural process and won love and recognition far beyond the borders of England.
The work of English playwrights has long enjoyed recognition and love in Russia. The greatest actors of the Russian theater played in Shakespeare's tragedies.
The following main periods are distinguished in the history of English culture: the Middle Ages, the Renaissance, the 17th century, the 18th century (the Age of Enlightenment), the 19th century (romanticism, critical realism), the period of the late 19th century - the beginning of the 20th century (1871 - 1917) and the 20th century , in which two periods are distinguished: 1917 - 1945. and 1945–present.
Earlier Middle Ages ( V – XI centuries)
In the 6th century BC, the British Isles were subject to Celtic invasions. In the 1st century AD, Britain was conquered by the Romans. The rule of the Roman Empire continued until the 5th century, when the Anglo-Saxons and Jutes invaded Britain. Anglo-Saxon tribes brought their language, culture, and way of life to the British Isles.
The history of medieval theater is the history of the struggle between idealistic, religious views of life and the people's realistic worldview.
For many centuries, in the life of the people of feudal Europe, traditions of pagan ritual festivals containing elements of theatricality were preserved: the clash of Winter and Summer, the May Games, at which scenes were performed with the participation of the King and Queen of May, etc. etc. Troupes roamed around Europe folk amusements - histrions. They knew how to do everything: sing, dance, juggle, act. By performing comic scenes, they often not only amused the audience, but also made fun of those who oppressed and oppressed ordinary people. Therefore, the church prohibited ritual games and persecuted histrions, but was powerless to destroy the people’s love for theatrical performances.
In an effort to make the church service, the liturgy, more effective, the clergy themselves begin to use theatrical forms. The first genre of medieval theater emerged - liturgical drama (IX-XIII centuries). During the liturgy, the priests acted out stories from the Holy Scriptures. Over time, performances of liturgical dramas are moved from the temple to the porch and churchyard.
XI – XV century
In the 11th century, the British Isles were conquered by the Normans. This contributed to French influence on the cultural life of the country.
In the XIII-XIV centuries. a new genre of medieval theatrical performance appears – miraculus (“miracle”). The plots of the miracles are borrowed from the legends about saints and the Virgin Mary.
The pinnacle of a medieval theater – mystery . It develops in the XIV-XV centuries, during the heyday of medieval cities. Mystery plays are played in city squares. The presentation of the mystery was massive - and in terms of the number of participants, Allegory "href="/text/category/allegoriya/" rel="bookmark">allegorical. The characters in morality plays usually personified various properties of man, his vices and virtues.
The hero of the morality tale is a human being in general. “Every Man” was the title of an English morality play of the late 15th century. In this play, Death appeared to every person and called him on a “long journey,” allowing him to take any companion with him. The man turned to Friendship, Kinship, Wealth, but was refused everywhere. Strength, Beauty, Reason, Five Senses agreed to accompany a person, but on the edge of the grave they all left him. Only Good Deeds jumped into the grave with him. Moral literature abandoned biblical subjects, but retained religious edification.
Farce - the first genre of medieval theater to break with religious morality. Farce, a funny and satirical genre, ridiculed the social, political, and moral concepts of feudal society. The farce features stupid knights, greedy merchants, and voluptuous monks. But the true hero of this genre, of all not very decent, but always funny, farcical plots, is a cheerful rogue from the common people. In a farce, the one who outsmarts everyone is right.
The experience of farcical performances was widely used by the theater of subsequent eras. Shakespeare's comedies adopted not only the slapstick techniques of farce, but also the spirit of popular freethinking that filled it.
Renaissance
In the 15th - 16th centuries, in European countries, “the greatest progressive revolution of all that humanity had experienced up to that time” took place - the transition from the feudal Middle Ages to modern times, marked by the initial period of the development of capitalism. This transitional era was called the Renaissance, or Renaissance.
This was the era of the emergence of a new culture, breaking with religious dogmas, an era of rapid development of art and literature, reviving the ideals of antiquity. Great opportunities for active creative activity open up before a person. During this era, the formation of national culture takes place.
The 16th century in England was the heyday of drama. The English theater responded to the people's interests and was extremely popular in an environment of national upsurge. By the end of the 16th century there were about twenty theaters in London; Among them, the James Burbage Theater and the Philip Henslowe Theater were especially famous. The development of theatrical culture did not proceed without difficulties; the main obstacle was the actions of the Puritans, who considered theater a “demonic” activity.
Playwrights of that time included Robert Greene, Thomas Kyd, Christopher Marlowe and others.
The plays of Beaumont (1584 - 1616) and Fletcher (1579 - 1625) characterize a different era in the history of English theater. They sought to aristocratize the theater and bring a certain sophistication and decency to stage performances. Noble, monarchical ideas become the subject of special attention in the theater of Beaumont and Fletcher. Calls for selfless service to the king are constantly heard from the stage.
William Shakespeare
The theater of the English Renaissance owes its flourishing, first of all, to William Shakespeare. Shakespeare's dramaturgy is the result of all previous development of drama, the pinnacle of theater.
“Tragedy was born in the square,” he wrote, referring to the distant origins of Shakespeare’s work – the folk theater of medieval mystery plays. The traditions of the square theater - a wide scope of events, the alternation of comedic and tragic episodes, the dynamics of action - were preserved by Shakespeare's predecessors - playwrights R. Green, C. Marlowe and others. They brought freedom-loving ideas onto the stage and showed new heroes - those with a strong will and an integral character.
In the first, “optimistic” period of his work, Shakespeare wrote comedies, surrounded by bright, joyful moods. But when a “sea of disasters” opened before the poet’s discerning gaze, when the inexorable course of history more and more sharply exposed the contradictions of feudalism and emerging capitalism, the ideal hero in his works was replaced by a power-hungry, an egoist and a self-seeker, and sometimes even a criminal.
This twist was first revealed in the tragedy Hamlet. But Shakespeare's heroes did not bow to the world of evil. Entering into the struggle and falling victims to their all-powerful opponents, the heroes of Shakespeare's tragedies, even through their very death, affirmed faith in man and his bright destiny. This is precisely the immortality of Shakespeare's tragedies and their modern sound.
Shakespeare's Globe Theater was located among other theaters on the south bank of the Thames, outside London, as the authorities banned performances in
William Shakespeare
Globus theatre". Appearance.
the city itself. The building was crowned by a small tower, where a flag flew during the performance.
The action took place in the open air - a mass of people stood in front of the stage, rich townspeople were located on the galleries, which surrounded the round walls of the theater in three tiers. The stage was divided into 3 parts: the front - proscenium, the back, separated by two side columns and covered with a thatched canopy, and the top - in the form of a balcony. The stage was decorated with carpets and mats, and a banner was suspended from above: black for tragedies and blue for comedies. The location of the action was indicated by one detail (the tree indicated that the action was taking place in the forest, and the throne indicated that it was in the palace).
The composition of the troupe was small - only 8-12 people. Sometimes each actor had to play up to three or more roles in the play. The heroines were played by pretty, fragile young men. The largest tragic actors were Edward Alleyn, who played with particular success in the plays of C. Marlowe, and Richard Burbage, the best performer of the roles of Hamlet, Lear, Othello and Macbeth. Richard Tarleton and William Kemp starred in comedic roles.
XVII century
If during the Renaissance in England drama and theater experienced their heyday, theatrical morals in London in those days were quite free, complete ease reigned both on stage and in the auditorium, both actors and spectators were not shy about expressions, then in the 17th century they were persecuted by the Puritans.
During the Renaissance, you could see a magician on stage with a dog, which depicted “the King of England, the Prince of Wales, and when he sits on his backside, the Pope and the King of Spain.” Some Mrs. in a comedy could announce from the stage that you can tell fortunes by urine, or a gentleman could write down where he urinated. “On our stage there is sometimes the same dirt and stench as in Smithfield (a suburb of London where fairs were held, and sometimes heretics were burned), says Ben Jonson. “Everything there is called by its proper name,” Voltaire wrote about the English stage already in the 18th century.
About theatrical morals can be concluded from the anonymous “Protest or complaint of actors against the suppression of their profession and their expulsion from several theaters” (1643). “We promise for the future never to admit into our sixpenny boxes dissolute women, who come there only to be carried away by apprentices and lawyers' clerks, and no other kind of women of that kind, except those who come with their husbands or close relatives. The attitude towards tobacco will also be changed: it will not be sold... as for foul language and similar vile things that can scandalize decent people and push bad people into debauchery, we will completely drive them out along with immoral and rude authors and poets.”
The creation of plays and their performance were declared sinful activities; visiting the theater was strongly condemned and was considered a harmful and harmful activity. With the coming of the Puritans to power, theatrical performances were banned in England. On September 2, 1642, the English parliament closed theaters and banned all performances, citing the fact that spectacles “often express unbridled gaiety and frivolity,” while one should direct one’s thoughts to “repentance, reconciliation and turning to God.” Five years later, parliament confirmed this decree, now in harsher terms and ordering those who disobeyed (actors) to be sent to prison as criminals. Culture was experiencing an acute crisis. The Church fought for a long time and persistently against theatrical spectacles. “The theaters are full, but the churches are empty,” complain the Puritan ministers. In the theater “free gestures, loose speeches, laughter and ridicule, kisses, hugs and immodest glances reign,” the clergy are indignant. “The word of God is being violated there and the divine religion established in our state is being profaned,” says the Lord Mayor.
The theater of the 17th century was represented by the Puritan bourgeoisie of England as a theater of debauchery and depravity, a theater that catered to the tastes of aristocrats and corrupted commoners.
There were also defenders. The playwright Thomas Nash wrote in 1592 that the plots of the plays were borrowed from English chronicles, the great deeds of the ancestors were retrieved from the “grave of oblivion” and thereby condemned the “decadent and effete modernity”, that the plays “anatomized a lie, gilded with external holiness.”
The characteristics of culture were determined by the events of the bourgeois revolution. Class contradictions between the bourgeoisie and large landowners intensified; the government of the bourgeois republic was headed by Oliver Cromwell, then the Stuart monarchy was restored.
The Stuarts, who returned to power, reopened theaters in 1660, and the brilliant but immoral comedy of the Restoration era seemed to confirm the negative assessment given to the theater by Cromwell's associates.
After the coup d'etat, William III of Orange came to power. The popular movement grew.
Wilhelm III did not close the theaters, but by decree of January 1, 2001, he strictly warned the actors that “if they continue to play plays containing expressions contrary to religion and decency, and allow blasphemy and immorality on stage, then for this they must they will answer with their heads.”
In the same year, 1698, a treatise by a certain Puritan theologian named Jeremy Collier was published under the very colorful title “A Brief Survey of the Immorality and Impiety of the English Stage.” The theologian severely condemned the existing theatrical practice. He wrote that there is anger and malice on stage. “Blood and barbarism are almost deified”, that “the concept of honor is perverted, Christian principles are humiliated”, that “devils and heroes are made of the same metal”, and demanded a radical restructuring of the activities of theaters, turning them into a kind of school of virtue, good manners and decency: “ The purpose of the plays is to encourage virtue and expose vice, to show the fragility of human greatness, the sudden vicissitudes of fate and the harmful consequences of violence and injustice.”
The English bourgeoisie no longer wanted to close the theaters, as was before, but to adapt them to the needs of the class. Although the “glorious revolution” of 1688 brought about an alliance between the bourgeoisie and the new nobility, hostility still persisted. The positions of the landlords were still strong; the aristocrats, although they submitted to the state of affairs, were by no means completely reconciled. Attacks on the aristocracy were also heard at theatrical performances.
In 1713, Joseph Addison (1672 - 1719) tried to establish classic tragedy on the English stage.
At this time, a new genre appeared - drama, but comedy did not want to give up its position. The audience, who shed copious tears at performances of The Merchant of London and were filled with horror before the gloomy ending of the play, wanted to laugh from time to time. This opportunity was provided to them by Fielding, and later by Oliver Goldsmith and Richard Brinsley Sheridan.
Goldsmith wanted to revive the "gay comedy" of the times of Shakespeare and Ben Jonson. In his treatise “An Essay on the Theater, or Comparison of Merry and Sentimental Comedy” (1733), he spoke directly about this and wrote several comedic plays without moralizing, without much tendentiousness, cheerfully making fun of the inexperience of young people who are easily deceived. The plays are full of funny mistakes, the characters are depicted quite naturally.
However, the greatest mark on the history of English drama of this period was left by Richard Brinsley Sheridan (1751 - 1816). He wrote for a short time. All of his best plays were created within five years. The fire of his theater on Drury Lane dealt the writer the final blow.
Classicism in its classical form could not find solid ground in England. There were two reasons for this: the political state of the country and the authority of Shakespeare's theater.
As for Shakespeare, he so eclipsed the achievements of ancient drama that after him it was simply unthinkable to rely entirely on the example of ancient Greek authors. English playwrights who worked for the theater could not follow Aeschylus, Sophocles and Euripides as unconditionally as their French colleagues did. Before them was the example of Shakespeare, who worked according to a completely different system and achieved unprecedented results.
In 1644, Shakespeare's Globe Theater was demolished, rebuilt after a fire in 1613, in 1649 - the Fortune and Phoenix theaters, in 1655 - Blackfriars. The actors scattered across the country, became soldiers, and disappeared, as reported by an anonymous 17th-century author (Historia histrionica).
In 1643, the actors drew up a moving, anonymous document: a complaint about the suppression of their profession. “We turn to you, great Phoebus, and to you, nine sisters - muses, patronesses of the mind and protectors of us, poor humiliated actors,” they wrote. “If, with the help of your almighty intervention, we could be reinstated in our former theaters and return to our profession again...” The actors wrote that the comedies and tragedies they performed were “living reproductions of people’s actions,” that there was a vice in them was punished, and virtue was rewarded, that "English speech was expressed most correctly and naturally." Phoebus and nine sisters - muses, patrons of the arts, did not respond. The theater suffered irreparable damage.
John Milton, the greatest English poet of the 17th century, did not share the negative attitude of the Puritans towards theatrical performances. Milton was especially strongly opposed to the playwrights and theater of the Restoration era, which were emphatically entertaining in nature. Milton considered tragedy, the classical examples of ancient Greek art, to be the main thing in dramatic art. Imitating them, he introduced a chorus commenting on what was happening and established the unity of time: the duration of events in the tragedy does not exceed 24 hours. The unity of place and action is strictly maintained.
Restoration period
The Restoration period began in England shortly after Cromwell's death.
The prohibitions imposed by the Puritans on theatrical performances and various types of entertainment were lifted. The theaters were reopened, but they were very different from the English theater of the 16th and early 17th centuries in both their external design and the nature of the plays. Rich scenery and lavish costumes were used on stage.
The comedies of William Wycherley (1640 - 1716) and William Congreve (1670 - 1729) enjoyed particular success.
English theaters Drury Lane and Covent Garden
Let's now visit the theaters of London. In 1663, the Drury Lane Theater was built in London, which received the right to a monopoly in the choice of repertoire. In 1732, another major theater appeared - Covent Garden. There was little order in London's theatres. The audience, rushing into the auditorium, rushed straight forward along the stalls to grab seats closer to the stage. From time to time, a kind of “theatrical riots” occurred - spectators, dissatisfied with the performance, the increase in prices, or some performer, drowned out the voices of the actors, threw fruit at them, and sometimes burst onto the stage.
In this riotous London of the 18th century, actors tried to perform sedately and speak in measured voices. However, English classicism was not complete, integral - it was constantly “corrected” by the realistic tradition coming from Shakespeare.
Actor Thomas Betterton (1635 - 1710) played the role of Hamlet as Burbage once played it, having received instructions from Shakespeare himself. Actor James Queen (1693 - 1766), who seemed to the British to be too classic, played the role of Falstaff quite realistically. In 1741, Charles Maclean (1697 - 1797) realistically played Shylock in Shakespeare's The Merchant of Venice. In the same year, David Garrick (1717 – 1779), who became the largest realist actor of the 18th century, acted as Richard III. Garrick played comic and tragic roles equally well. As a mime artist, Garrick had no equal. His face could consistently depict all the shades and transitions of feelings. He knew how to be funny, pathetic, majestic, scary. Garrick was a very intelligent actor, with a richly developed and precise technique and at the same time an actor of feeling. Once, while playing King Lear in Shakespeare's tragedy, Garrick got so carried away that he tore his wig off his head and threw it to the side.
Garrick directed the Drury Lane Theater for many years, where he assembled a wonderful company and staged 25 Shakespearean performances. Before him, no one had worked so conscientiously and persistently on productions of Shakespeare's plays. After Garrick, people learned to appreciate Shakespeare much more than before. The fame of this actor thundered throughout Europe.
Garrick's work summed up the development of theater in the 18th century - from classicism to realism.
XVIII century
Age of Enlightenment
In the 18th century, a transitional era began, ending with the French bourgeois revolution. The liberation movement developed, and the need arose to destroy feudalism and replace it with capitalism.
English literature" href="/text/category/anglijskaya_literatura/" rel="bookmark">English literature in the 30s and 40s of the 19th century. The Industrial Revolution was a powerful impetus for the development of capitalism in the country. The proletariat entered the historical arena.
The turbulent era brought to life the flourishing of democratic culture, including theatrical creativity.
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XX century
1945–present
After the Second World War, in connection with the formation of the world socialist system and the growth of the national liberation war of peoples, the collapse of the British Empire became inevitable and natural. Theaters represent turbulent, turning-point events and social changes.
In the first years after the Second World War, the most popular writer in England was John Boynton Priestley. He has written over forty plays. The most significant of them are “Dangerous Corner” (1932), “Time and the Conways” (“Time and the Conways”, 1937).
In Priestley's plays the influence of Chekhov's dramaturgy is noticeable. Priestley strives to convey the drama of everyday life, to show life with all its undertones, to reveal the characters of not only the main characters, but also the secondary ones.
The plays of John Osborne (John Osborne, 1929) played an important role in English culture. The plays of John Osborne stimulated the rise in the development of English drama in the 60s.
In 1956, John Osborne's play Look Back in Anger was staged at the Royal Court Theatre, which was a resounding success. The playwright very accurately conveyed the mood of English youth of that time. Jimmy Porter took the stage - the young “angry” hero, as critics called him. This young man from the lower classes, who had made his way into a social environment hostile to him, had little idea of what a decent existence consisted of. He took up arms, sparing no effort, against existing moral values, the traditional way of social life, and partly against social laws. These same traits characterize some of the characters, both modern and historical, in the plays of John Arden, Sheila Delaney and others.
Progressive actors and directors in some countries are improving their skills using classical dramatic material and the best examples of realistic literature. They use the classics to pose pressing contemporary issues. English actor Laurence Olivier, in the image of Othello, conveyed an angry protest against the emerging bourgeois civilization. Hamlet served Paul Scofield to express the sad, difficult thoughts of the young post-war generation of European intellectuals who felt responsible for the crimes committed in the world.
The productions of Shakespeare's plays by the English director Peter Brook enjoy well-deserved success among audiences.
The theatrical art of recent times is characterized by many small professional, semi-professional and non-professional troupes, wandering from one locality to another; intensifying the activities of student theaters; growing protest by actors and directors against commercialism in the arts. Young people often use the stage for heated political discussions. The theater goes out onto the streets, where semi-improvisational performances are performed.
Almost every phenomenon of theatrical creativity in England is permeated with severe internal contradictions, fraught with a clash of opposing ideological and aesthetic tendencies.
John Osborne is a supporter of theater, which criticizes social orders in the capitalist world, which is the most convincing weapon of the time.
John Osborne's plays determined the development of English drama in the 60s.
The originality of the dramaturgy of Sean O'Casey, an outstanding Anglo-Irish playwright, is determined by its connection with the Irish folklore tradition. His plays are characterized by a bizarre combination of tragic and
Laurence Olivier as Richard III
"Richard III" by W. Shakespeare
comic, real and fantastic, everyday and pathetic. O'Casey's dramas use the conventions of expressionist theater.
The movement of folk theaters, pursuing primarily educational goals, swept across Europe. In England, the Workshop Theater arose and became very famous under the direction of Joan Littlewood.
Topic: English theaters
Topic: Theaters of England
Going to the theater is a very popular activity among Brits, as the UK has a long dramatic tradition and incredible playwrights, actors and directors. London is the center of the theater scene, but there are great companies and theaters in other places too. There are more than 50 theaters in London alone, so you can imagine the number throughout the country. The first theater in England appeared in 1576 and was called the Blackfries, and a few years later, in 1599, the famous Globe Theater was opened and it is believed that William Shakespeare worked there.
Nowadays there is hardly any city without a theatre, but mostly all of them do not have any permanent staff, as the company of actors works together until they draw audience to the theatre. When the performance stops attracting people, theaters look for another company or group of actors. One more peculiarity is the possibility to choose between two kinds of seats. The first ones can be reserved in advance, while are unbookable, so the earlier you come the better seat you get.
Nowadays there is hardly a city without a theatre, but generally they are all short-staffed, as a company of actors work together while they attract spectators to the theatre. When a play no longer attracts people, theaters look for another company or group of actors. Another feature is the ability to choose between two types of seats. The former can be reserved in advance, while the latter are non-reservable, so the earlier you arrive, the better seat you will get.
Another unique peculiarity of London is Theaterland, a theater district with approximately forty venues located near the West End. They usually, and musicals. Most of the theaters date back to Victorian and Edwardian times and nowadays they are private. The most long-running shows are Les Misérables, Cats and The Phantom of the Opera. Annually Theaterland is attended by more than 10 million people and it represents a very high level of the commercial theatres.
Another unique feature of theatrical London is the theater district, with approximately forty venues located near the West End. They usually show comedies, classics or plays and musicals. Most of the theaters have their origins in the Victorian and Edwardian eras and are now privately owned. The longest running shows are Les Miserables, Cats and The Phantom of the Opera. The theater district attracts more than 10 million visitors annually and has high-level commercial theatres.
When it comes to non-profit theaters, you can see them outside the theater district. They are very prestigious and show drama, classical plays and contemporary works by leading playwrights. There are three most prominent venues in the UK: the Royal National Theatre, the Royal Shakespeare Theater and the Royal Opera House. All of them amaze with their grandeur and development of art.
The Royal National Theater was founded in 1963 basing at the Old Vic theatre. In 1976 it moved to a new building, where three stages are located. Each of the stage has its own theatre: Olivier, Lyttelton and Dorfman theatres. They have a varied program offering usually three performances in repertoire. Olivier Theater for more than 1000 people with the ingenious ‘drum revolve’ and multiple ‘sky hook’. It gives a nice view of the stage from every audience’s seat and allows to facilitate great scenery changes. Lyttelton Theater is the one with the proscenium-arch design and accommodating about 900 people. Dorfman Theater is the smallest enhanced dark-walled theater with the capacity of 400 people. The National Theater itself is a famous area for backstage tours with a theatrical bookshop, exhibitions, restaurants and bars. It also houses a learning center, numerous dressing rooms, a studio, a development wing etc.
The Royal National Theater was founded in 1963, based on the Old Vic Theatre. In 1976, it moved to a new building that houses three theaters. Each stage has its own theater: Olivier, Lyttelton and Dorfman. They have a varied program, usually with three performances in the repertoire. The Olivier is the theatre's main open stage, seating over 1000 people, with an ingenious 'drum that spins' and a 'sky hook'. This provides a good view of the stage from every seat and allows for great scenery that changes dramatically. Lyttelton is a theater with an arch-shaped proscenium design and a seating capacity of approximately 900 people. Dorfman is the smallest theater with dark walls and a capacity of 400 people. The National Theater itself is famous for its backstage tours, theater bookshop, exhibitions, restaurants and bars. There is also a training center, numerous dressing rooms, a studio, a development wing, etc.
The Royal Shakespeare Theater is a theater company with approximately twenty performances per year. It consists of two permanent theatres: the Swan Theater and the Royal Shakespeare Theatre. In November 2011, the latter was opened after refurbishment and celebrated its 50th birthday. It is located in Stratford-upon-Avon, the birthplace of Shakespeare and took its name in 1961 to commemorate his talents as a playwright and poet. It also promotes positive attitudes towards the poet's work, organizes festivals and expands its influence into many other industries.
Covent Garden is also a place associated with theatrical performances. There you can find The Royal Opera House. It centers on ballet and opera. Its building experienced disastrous fires and was last reconstructed in the 1990s. It has enough seats for more than 2000 people and consists of an amphitheater, balconies and four tiers of boxes. It has got some unique facilities including Paul Hamlyn Hall, a great iron and glass construction hosting some events, the Linbury Studio Theatre, located below ground level, and High House Production Park, a scenery-making place, a training center and a new technical theater
Covent Garden is also a place associated with theatrical performances. Here you can find the Royal Opera House. It shows ballet and opera. Its building has survived catastrophic fires and was last renovated in the 1990s. It has enough space for more than 2000 people and consists of an amphitheater, a balcony and four tiers of boxes. It has several unique facilities including the Paul Hamlyn Hall, an iron and glass structure that hosts some events, the Linbury Theater Studio, a second stage located below the ground floor, and the High House Production Park, where scenery is produced, a training center and a new technical theater are located. .
Theater in the UK is very diverse and continues to thrive, as the British are a theatrical nation, and many tourists also cannot miss attending great performances. They appeared in England thanks to the Romans. Early themes were related to folk tales and religion, but this all changed during the reign of Elizabeth I, when drama flourished. Many talented playwrights were and remain English. One cannot fail to mention William Shakespeare, Christopher Marlowe, Bernard Shaw, Oscar Wilde, etc. Andrew Lloyd Webber is a prolific British composer whose musicals dominated English stages or American Broadway shows. So it is now clear that theaters are an integral part of British culture and they will continue to develop the traditions and cultural background of the whole country.
London is famous for its museums, historical buildings, and ultra-modern restaurants. But only the theatrical life that dominates the city distinguishes it from other cities. If a play was successful in London, it would repeat its success elsewhere.
London's only competitor can be New York with Broadway, but even it cannot boast of theater buildings that have a long and rich history. The central part of the city, the West End, the South Bank and Victoria districts amaze with a special concentration of theaters - from small studios for 100 spectators to large temples of Melpomene. We offer an overview of the ten largest theaters in London.
The Shaftesbury Theatre, located just off Holborn Street, is listed among British buildings of architectural and historical value. Thanks to a small accident that occurred with the roof of the building in 1973, attention was paid to it. Since 1968, the famous musical “Hair” has been shown on its stage 1998 times. The show, which promoted the hippie movement, was later closed. When the musical was first shown on stage in the West End, theater censor Lord Cameron Fromentil "Kim" Baron Cobbold banned it. The producers turned to Parliament for help, and it gave permission by issuing a bill that completely annulled the baron's ban. This unprecedented event in the history of theatrical art brought an end to theatrical censorship in Britain - not bad for a theater with a capacity of 1,400 spectators.
Just a few blocks from Shaftesbury is the Palace Theatre, which can also seat 1,400 spectators. His specialty is musicals, such as Singin' in the Rain or Spamalot. The theater opened in 1891 and became known as the Royal English Opera House under the patronage of Richard d'Oyly Carte. Recently, in addition to operas, musicals, films and other shows have been shown on stage. Throughout the 1960s, the musical “The Sound of Music” was shown at the theater 2,385 times The theater was included in the list of buildings of British architectural and historical value, along with other buildings in the area.
The Adelphi Theater recently celebrated its 200th anniversary. Despite the modest size of the building, the theater can accommodate 1,500 spectators. He is known for productions such as Chicago and Joseph and the Amazing Technicolor Dreamcoat. The 1930 Art Deco building is adjacent to the Strand Palace Hotel. This is the fourth building in the entire history of the theater since 1809. A plaque on the wall of a nearby bar blames the theater for the death of the actor, who was once supported by the great Terriss. But in fact, Prince Richard Archer, a failed actor who had lost popularity and decency due to addiction to alcoholism, pleaded guilty to the murder of his mentor Terriss in a state of insanity and was sent for compulsory treatment to a psychiatric hospital, where he led the prison orchestra until his death. They say that the ghost of the unavenged Terriss, who is upset by the lenient sentence imposed on his protégé and murderer, still wanders around the theater building at night.
Some shows have been on stage in London's West End for decades, and Victoria Palace constantly offers fresh repertoire, such as the musical Billy Elliott. Although it has been on stage since 2005, which is a lot, according to regular viewers. The theater has a long history, which began in 1832, when it was just a small concert hall. Today the building, which was built in 1911, can accommodate 1,517 spectators. It is equipped with a sliding roof, which is opened during intermissions to ventilate the hall. The theater staged many memorable shows, but the most memorable of them was the 1934 patriotic play Young England, which received many negative reviews. It lasted only 278 performances.
The Prince Edward Theater is located in the heart of Soho and can seat 1,618 people. It is named after the heir to the throne of the British Crown, Edward VIII, a king who was on the throne for only a few months and abandoned it in the name of love. Traditionally, romantic shows and performances take place on stage, for example, “Show Boat”, “Mamma Mia”, “West Side Story”, “Miss Saigon”. The theater has a long history, dating back to 1930 when it was just a cinema and dance hall. Only in 1978 did the theater open, timed to coincide with its opening with the premiere of the musical “Evita” about the world famous woman, the wife of the President of Argentina. The play went on to run for 3,000 performances, and actress Elaine Page, who played Evita, had a brilliant start to her theater career and became a star.
Despite the redevelopment of Tottenham Court Road in London to create a better road junction, one thing remains unchanged - the giant statue of Freddie Mercury with his hand raised while singing "We Will Rock You" in front of the Dominion Theatre. The show has been on the theater stage since 2002 and, despite unkind reviews from critics, was a success with audiences. The theater, built in 1929 on the site of an old London brewery, can accommodate 2,000 spectators. The building also houses the Australian Sunday Church, which uses the theater's stage and lighting during masses.
This is one of the grandest theaters in London. The columns that adorn the central entrance date back to 1834, and the building itself was reconstructed in 1904 in the Rococo style. Throughout the history of its existence, which dates back to 1765, it has had everything except a theater, for example, for 50 years it hosted Secret Beef Steak Society dinners. In 1939, they wanted to close the building, but due to the start of road construction, it was saved. For 14 years, the play “The Lion King” was performed on the stage of the theater, and the Disney dramatization seems to have settled here for a long time and brings good box office receipts.
This is not why the Theater Royal, which can accommodate 2,196 spectators, is considered the leading theater in London. Since 1663, there have been several theaters on this site, and Drury Lane itself is considered a theatrical street. Like many other theatres, the Royal worked under the direction of Andrew Lloyd Webber, author of the musicals Evita and Cats. Other productions that have appeared on stage include Oliver, which was made into a musical film of the same name, The Producers, Shrek and Charlie and the Chocolate Factory, which is still running. In addition to musicals and actors, the theater is famous for its ghosts, such as the ghost of a man dressed in a gray suit and cocked hat. According to legend, he was killed in the theater building in the 18th and 19th centuries. Another ghost is Joseph Grimaldi, a clown who is said to help nervous actors on stage.
The London Paladium Theater is famous not only in London, but throughout the world. It is a few steps from Oxford Street. He became popular thanks to the night show “Sunday Night at the London Palladium”, which ran from 1955 to 1967. Millions of spectators got acquainted with the rotating stage and stage actions of various types. In 1966, the owners of the building tried to sell it for further reconstruction, but it was saved thanks to theatrical investors and the fact that in addition to the theater, in 1973 a concert hall was opened there for performances by the rock group “Slade”. The constant sold-out crowds and active actions of the band's fans almost caused the collapse of the balcony in the hall. In 2014, the talent show “The X Factor: The Musical” was opened in the theater hall.
If the Appollo Victoria theater is not the most popular in London, then it can safely be recognized as the highest. It is located a few meters from the Victoria Palace and can accommodate 2,500 spectators. Several theaters from the presented review are located nearby and create a kind of “theater country”. Apollo Victoria opened in 1930. The building is designed in an art deco style with a nautical theme with fountains and shells as decoration. It took 18 years to construct the railway for the musical “Starlight Express”, so that the train would move around the perimeter of the auditorium according to the script. Another popular musical staged at the theater is “Wicked”. The box office receipts from the premiere amounted to 761,000 pounds, and over the course of 7 years, the income from the performance is estimated at 150 million. Film lovers claim that the theater will die out in the near future, but statistics related to the number of spectators at each musical and the amount of box office receipts indicate otherwise. The smell of rouge and whitewash, the noise of the auditorium will never disappear.
However, modern architecture is in no way inferior to the beauty and elegance of historical theater buildings.
The Opera House was built in 1912 and designed by architects Farquharson, Richardson and Gill. In fact, the opera house received the status of an opera house only in 1920. It did not have a permanent acting troupe, and on its stage, as a rule, performances were staged by touring groups. In 1979, the building was converted into a gaming hall, but, fortunately, this erroneous decision was reversed after five years. Since then, the Opera House has been delighting viewers with new productions of opera and ballet performances, musicals, and children's performances.
The building of the Opera House is made in a classical style: the facade is divided by Ionic columns into unique niches, and on the pediment there is a semicircular relief depicting an ancient horse-drawn chariot. Along the lower part of the pediment there is an ornamental strip made of carved stone.
The auditorium of the theater has a semicircular shape, which is not usual for opera houses - it is somewhat elongated, and two spacious cantilever balconies hang over the stalls. On both sides of the stage there are luxuriously decorated boxes in three tiers. The decoration of the hall is dominated by gold, green walls and red velvet chairs. It can accommodate 1,920 spectators, and it must be said that almost all the theater’s performances are sold out.
City Theater
One of Manchester's main attractions is the Civic Theatre, located on Oxford Street. It was originally called the Grand Old Lady and its grand opening took place on May 18, 1891. The building work was estimated at £40,000. In the first years of its activity, the establishment operated at a loss, as it did not gain popularity among the general public. Soon the theater expanded the range of its performances, programs of famous performers were added to ballet productions, and the institution soon became a colossal success. At the beginning of the 20th century, famous personalities such as Danny Kaye, Gracie Fields, Charles Lawton and Judy Garland performed here.
In September 1940, the theater was heavily damaged by German bombing. The building gradually fell into disrepair, as there were not enough funds for restoration. In 1970, the theater was under threat of closure. In 1980, a major restoration of the building was carried out on the initiative and with funds from the local Arts Council.
Currently, the theater hosts musicals, operas and ballets with the participation of world famous artists. The theater's original capacity was 3,675 spectators, but has now been reduced to 1,955.
Royal Exchange Theater
Much of Manchester's history revolves around textile production during the Industrial Revolution. As a silent witness to the former “cotton” greatness of the city, the building of the Royal Exchange remains. At one time, approximately 80% of all cotton in the world was traded here.
Manchester in the Victorian era was often called the "Cotton Capital" and the "Warehouse City". In Australia, New Zealand and South Africa, the term "Manchester" is still used to refer to bed linen: sheets, pillowcases, towels. The exchange building was built between 1867 and 1874, then it was reconstructed several times, as a result of which the operating room became the largest in England. The Royal Exchange was seriously damaged during the Second World War, but trading did not stop until 1968.
Since 1976, it has housed the Royal Exchange Theatre. Its auditorium is interesting in that the round stage is located in the middle, and seats for spectators rise up from it, which is very reminiscent of the theater of Ancient Greece. Part of the building is occupied by shopping pavilions and numerous cafes.
York Theater Royal
One of the significant attractions of York is the Theater Royal. The building was built in 1744 on the site of the medieval hospital of St. Leonard. At the end of the 19th century, the theater was renovated in Victorian style. The new Gothic facade is decorated with a sculpture of Elizabeth I and characters from Shakespeare's plays.
The luxurious lobby was renovated in a modernist style in 1967, during the last major renovation. Two grand staircases connect it to a two-level auditorium that seats 847 spectators. The theater's repertoire is very diverse; it hosts classical music concerts, theater performances, jazz and folk festivals, and various entertainment events with the participation of British and foreign performers. In addition, annual competitions for young talents are held here, including theater, dance, music, and poetry. All interesting and original ideas are supported by famous artists.
Visitors can enjoy a cozy restaurant and cafe located on the second floor of the building. The Royal Theater is a historical monument, popular with locals and tourists.
Royal Theater
The Theater Royal, in existence for over 200 years, is one of the most important theaters in England. It was opened in 1805. Accommodates an audience of 900 people. The theater offers a year-round program of high-class opera, dance, and comedy productions. Currently, part of the Royal Theater is the Theater for Young Spectators "Egg".
The Theater Royal is located near the center of Bath. The building is a prime example of Georgian architecture. The interior of the room is skillfully decorated with stucco, red and gilded details; huge chandeliers and high ceilings of the auditorium give it majesty and some mystery.
During its history, the theater was reconstructed several times, but its original splendor has been carefully preserved to this day. The Young Spectators' Theater was opened in 2005 and is adjacent to the Royal Theater building and provides a rich program of professional performances and cultural events for children and young people aged 1 to 18 years.
Royal Theater
One of the many attractions of Manchester is an ancient building located in the city center. It is a striking representative of buildings of the Victorian era. Initially, there was a trading exchange selling cotton here. During the Second World War, the building was badly damaged; its restoration took several years. As a result, the trading floor became much smaller, and the tiers of the clock tower were much simpler. When trading on the stock exchange was suspended in 1968, the building was under threat of demolition. It sat empty until 1973, when a theater company leased it.
In 1976, the Royal Theater was formed in the building. The entrance to the theater is represented by a semicircular arch with Corinthian columns and pilasters; a marble statue of William Shakespeare rises in a niche. In the interior of the building, the richly decorated ceilings fascinate with their beauty.
Liverpool Drama Theater
The Liverpool Drama Theater has come a long way from a concert hall and music hall to a modern theater with a rich and sometimes unusual repertoire. Its history began in 1866 as the Star Music Hall, designed by Edward Davis. The music hall's predecessor was Star Concert Hall, which was demolished for new construction. In 1895, the theater changed its focus and was renamed the Star Variety Theater.
The modern construction of the theater bears traces of numerous modifications and restorations. Global changes began in 1898, when Harry Percival built a new auditorium and a luxurious foyer. But already in 1911, the theater had new owners, who redesigned the auditorium and basement foyer and again renamed the theater the Liverpool Repertory Theatre. Finally, the last wave of global alterations available to the modern visitor overtook the theater in 1968, when a large extension was made to the northern part to organize new foyers, bars and locker rooms.
The Drama Theater is now run by Liverpool City Council and is united in a trust with the Everyman Theatre. The theater offers audiences original and sometimes daring productions of large plays in the three-level main building, as well as miniature, intimate plays in the small Studio room with 70 seats.
Dancehouse Theater
One of Manchester's main cultural attractions is the Dancehouse, located on Oxford Road. It has a wonderful stage, equipped with the latest light and sound devices, as well as an ultra-modern hall, the seats of which are arranged in the form of three cascades, falling at a fairly large angle.
The interior decoration of the establishment is made in pastel colors with a predominance of peach and soft pink. The lighting in the hall depends on the nature of the production; if a fast, incendiary dance is shown on the stage, all the lamps and chandeliers are turned on, and if a touching love scene is shown on the stage, the hall is in twilight. The total capacity of the establishment is about 700 people, including balconies.
The Dancehouse infrastructure includes a buffet located on the ground floor and a large spacious hall with full-length mirrors. Basically, all dance events in the city take place here; it is not uncommon to meet world-class stars at the Dancehouse. By visiting here, you will receive a lot of positive emotions and significantly increase your cultural level.
Royal Shakespeare Theater
The Royal Shakespeare Theater produces plays by William Shakespeare and also hosts annual festivals dedicated to the great playwright. The theater is distinguished by strong dramaturgy, as well as high-level acting, which makes it more professional and well-attended.
The theater opened to spectators in 1879. A female architect, Elizabeth Scott, worked on the theater project. Until 1961 it was called the Shakespeare Memorial Theatre. Over the years, the following directors worked at the theater: Benson, Payne, Quayle, Nunn, Richardson and others. The theater is now managed by the Royal Shakespeare Company.
After restoration in 2010, the theater became even more comfortable and beautiful. It is opposite the River Avon and surrounded by gardens. There is an observation deck with a restaurant and bar on its roof.
Mayflower Theater
One of Southampton's landmarks is the Mayflower Theater, located in the city center and opened in 1928. This is one of the largest theaters on the south coast of England. In 1995, the theater was completely reconstructed and modernized, as a result of which the auditorium was significantly expanded. The interior of the theater, which is more in line with the American style, is dominated by a combination of white and blue colors. The luxurious lobby is designed in the style of an ocean liner and is lined with marble. Several grand staircases connect it to a three-level auditorium with a capacity of 2,300 seats.
The theater is a unique cultural complex that hosts classical music concerts, theater performances, jazz and folk concerts and various entertainment events featuring British and international performers. Free concerts of chamber ensembles, performers of folk and jazz music, poets and dramatic actors at a good professional level are sometimes held in the theater's lobby. The doors of the cozy restaurant and cafe are always open to visitors on the second floor of the building. The Mayflower Theater is undoubtedly one of the best provincial theaters in the UK.
Aylesbury Waterside Theater
One of Aylesbury's significant landmarks is the Aylesbury Waterside Theatre. It was founded in 2010 as a result of the transformation of the Civic Hall entertainment centre. The theater building is a modern building with an elegant design. The interior of the theater contains predominantly elements of the Georgian style. The massive wooden columns and panels of the building are decorated with elaborate carvings.
The main hall of the theater consists of three levels and is designed for 1200 spectators. It uses a modern electro-acoustic system that regulates sound quality for symphonic and choral performances. The theater hosts touring performances by British and international performers, including theatre, opera, ballet, musicals, and other musical events. Children's shows are very popular here, taking little viewers into the world of fairy tales and adventures.
