Actresses dating directors

Take a look back at actors who've romanced their directors.
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It contains satirical scenes and folk material such as faeries and other supernatural occurrences. Farces also rose dramatically in popularity after the 13th century. Beginning in the midth century, Commedia dell'arte troupes performed lively improvisational playlets across Europe for centuries. Commedia dell'arte was an actor-centred theatre, requiring little scenery and very few props. Plays were loose frameworks that provided situations, complications, and outcome of the action, around which the actors improvised.

The plays utilised stock characters. A troupe typically consisted of 13 to 14 members. Most actors were paid a share of the play's profits roughly equivalent to the sizes of their roles.


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Renaissance theatre derived from several medieval theatre traditions, such as the mystery plays , " morality plays ", and the "university drama" that attempted to recreate Athenian tragedy. The Italian tradition of Commedia dell'arte , as well as the elaborate masques frequently presented at court, also contributed to the shaping of public theatre.

Since before the reign of Elizabeth I, companies of players were attached to households of leading aristocrats and performed seasonally in various locations. These became the foundation for the professional players that performed on the Elizabethan stage. The development of the theatre and opportunities for acting ceased when Puritan opposition to the stage banned the performance of all plays within London. Puritans viewed the theatre as immoral.

The re-opening of the theatres in signaled a renaissance of English drama. English comedies written and performed in the Restoration period from to are collectively called "Restoration comedy". Restoration comedy is notorious for its sexual explicitness.

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At this point, women were allowed for the first time to appear on the English stage, exclusively in female roles. This period saw the introduction of the first professional actresses and the rise of the first celebrity actors. In the 19th century, the negative reputation of actors was largely reversed, and acting became an honored, popular profession and art. A new role emerged for the actor-managers , who formed their own companies and controlled the actors, the productions, and the financing.

They could enlarge their audience by going on tour across the country, performing a repertoire of well-known plays, such as those by Shakespeare. The newspapers, private clubs, pubs, and coffee shops rang with lively debates evaluating the relative merits of the stars and the productions.

Henry Irving was the most successful of the British actor-managers. His company toured across Britain, as well as Europe and the United States, demonstrating the power of star actors and celebrated roles to attract enthusiastic audiences. His knighthood in indicated full acceptance into the higher circles of British society. By the early 20th century, the economics of large-scale productions displaced the actor-manager model.

It was too hard to find people who combined a genius at acting as well as management, so specialization divided the roles as stage managers and later theatre directors emerged. Financially, much larger capital was required to operate out of a major city. The solution was corporate ownership of chains of theatres, such as by the Theatrical Syndicate , Edward Laurillard , and especially The Shubert Organization. By catering to tourists, theaters in large cities increasingly favored long runs of highly popular plays, especially musicals.

Big name stars became even more essential.

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Formerly, in some societies, only men could become actors. In ancient Greece and ancient Rome [23] and the medieval world , it was considered disgraceful for a woman to go on stage; this belief persisted until the 17th century in Venice. In the time of William Shakespeare , women's roles were generally played by men or boys.

When an eighteen-year Puritan prohibition of drama was lifted after the English Restoration of , women began to appear on stage in England. Margaret Hughes is oft credited as the first professional actress on the English stage. The first occurrence of the term actress was in according to the OED and is ascribed to Middleton. In the 19th century many viewed women in acting negatively, as actresses were often courtesans and associated with promiscuity. Despite these prejudices, the 19th century also saw the first female acting "stars", most notably Sarah Bernhardt.

In Japan , onnagata , men taking on female roles, were used in kabuki theatre when women were banned from performing on stage during the Edo period.

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By contrast, some forms of Chinese drama involve women playing all roles. In modern times, women occasionally played the roles of boys or young men. For example, the stage role of Peter Pan is traditionally played by a woman, as are most principal boys in British pantomime. Opera has several " breeches roles " traditionally sung by women, usually mezzo-sopranos. Women playing male roles are uncommon in film, with notable exceptions. In the s, women playing men in live theatre is particularly common in presentations of older plays, such as Shakespearean works with large numbers of male characters in roles where gender is inconsequential.

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Having an actor dress as the opposite sex for comic effect is also a long-standing tradition in comic theatre and film. Cross-dressing for comic effect was a frequently used device in most of the Carry On films. Doubtfire , respectively in which they played most scenes dressed as a woman.

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The Movie , filmwatchers never learn the gender of the androgynous main characters Pat and Chris played by Julia Sweeney and Dave Foley. Similarly, in the aforementioned example of The Marriage of Figaro, there is a scene in which Cherubino a male character portrayed by a woman dresses up and acts as a woman; the other characters in the scene are aware of a single level of gender role obfuscation, while the audience is aware of two levels. A few modern roles are played by a member of the opposite sex in order to emphasize the gender fluidity of the role.

Edna Turnblad in Hairspray was played by Divine in the original film , Harvey Fierstein in the Broadway musical , and John Travolta in the movie musical. Actors working in theatre, film, television and radio have to learn specific skills. Techniques that work well in one type of acting may not work well in another type of acting. To act on stage, actors need to learn the stage directions that appear in the script, such as "Stage Left" and "Stage Right".

These directions are based on the actor's point of view as he or she stands on the stage facing the audience. Actors also have to learn the meaning of the stage directions "Upstage" away from the audience and "Downstage" towards the audience [28] Theatre actors need to learn blocking, which is " Most scripts specify some blocking.

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The Director also gives instructions on blocking, such as crossing the stage or picking up and using a prop. Some theater actors need to learn stage combat , which is simulated fighting on stage. Actors may have to simulate hand-to-hand [fighting] or sword[-fighting]. Actors are coached by fight directors , who help them learn the choreographed sequence of fight actions. From to the late s, movies were silent films. Silent film actors emphasized body language and facial expression , so that the audience could better understand what an actor was feeling and portraying on screen.

Much silent film acting is apt to strike modern-day audiences as simplistic or campy. The melodramatic acting style was in some cases a habit actors transferred from their former stage experience. Vaudeville theatre was an especially popular origin for many American silent film actors. As early as , American viewers had begun to make known their preference for greater naturalness on screen. Pioneering film directors in Europe and the United States recognized the different limitations and freedoms of the mediums of stage and screen by the early s.

Silent films became less vaudevillian in the mid s, as the differences between stage and screen became apparent. Due to the work of directors such as D W Griffith , cinematography became less stage-like, and the then-revolutionary close up shot allowed subtle and naturalistic acting. Griffith's company Biograph Studios , became known for its innovative direction and acting, conducted suit the cinema rather than the stage.

Griffith realized that theatrical acting did not look good on film and required his actors and actresses to go through weeks of film acting training. Lillian Gish has been called film's "first true actress" for her work in the period, as she pioneered new film performing techniques, recognizing the crucial differences between stage and screen acting.