376:...became vernacular within turn-of-the--century amusement market. The legitimate prefix confirmed the fact that conventional stage plays no longer monopolized the definition of legitimate theatrical entertainment, while, at the same time, asserted that they did (or could), as a strategy for profiting under these new conditions. As such,
195:"became vernacular within turn-of-the--century amusement market" and "confirmed the fact that conventional stage plays no longer monopolized the definition of legitimate theatrical entertainment," while serving "as a strategy for profiting under these new conditions" across the English-speaking world. With the advent of recorded media,
116:
or melodrama, but were considered "illegitimate theatre". Everett Wilson speculates that the law may have arisen due to "the fear of theatrical producers that without legal protection both the money and the audience would flow away from the "legitimate theatres" to the lowest common denominator of
187:
came to be "widely used by actors of the old school as a defence against the encroachments" of newer types of performance, and this sense of the term spread beyond
England to the United States, where like in England, the term conferred a sense of "'literary' value" to traditional stage plays.
340:
5. constituting or relating to serious drama (including both comedy and tragedy) as distinct from musical comedy, farce, revue, etc. The term arose in the 18th c. ... It covered plays dependent entirely on acting with little or no singing, dancing or
385:, a term familiar to British and American playgoers, actors, and critics in the nineteenth century for distinguishing classic plays (Shakespeare, Molière, Sheridan) from the contemporary melodramas they also enjoyed. As it does today, however,
132:
more easily, whilst the illegitimate houses would sell plays of a less serious, less dangerous, primarily entertaining and commercialised format. Illegitimate theatres opened in all the major
English cities and towns where they offered
224:
and thus turned the performance into a private enterprise under the prevailing laws. The evasion was challenged by the magistrate's court in
February 1966 and declared a violation of the Theatres Act 1843 on 1 April 1966. The
393:
to other competing forms of commercial amusement, the particular value of conventionally staged drama was that it provided the best occasion and opportunity available for acquiring cultural prestige, "literary" value,
380:
referred to the history of theatre's high-cultural place, most directly to the authority invested in the Patent playhouses of eighteenth century
Britain, but it also suggested the sort of literariness associated with
521:, whereby any theatre could play any kind of drama it wished, subject to the censorship powers of the Lord Chamberlain, the distinction between 'legitimate' and 'illegitimate' ceased to have any meaning."
180:
were founded exploiting a legal loophole. Open only to their members, these houses evaded the censorship law by turning their performances from a public enterprise into a private one.
168:
to license theatres, breaking the monopoly of the patent theatres and encouraging the development of popular theatrical entertainments, such as saloon theatres attached to
220:, however, had not been licensed to be performed as Bond had written it. In order for it to be performed as planned, the Royal Court Theatre had lent its stage to the
56:
is a noun referring both to such dramas and actors in these dramas. Legitimate theatre and dramas are contrasted with other types of stage performance such as
745:
711:
677:
445:
Mark Hodin. "The
Disavowal of Ethnicity: Legitimate Theatre and the Social Construction of Literary Value in Turn-of-the-Century America."
357:
Mark Hodin. "The
Disavowal of Ethnicity: Legitimate Theatre and the Social Construction of Literary Value in Turn-of-the-Century America."
654:
621:
310:
of or pertaining to professionally produced stage plays, as distinguished from burlesque, vaudeville, television, motion pictures, etc.:
823:
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631:
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elements, with actors performing through speech and natural movement. Traditionally, performances of such theatre were termed
852:
867:
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566:
857:
128:, most prominently—to the privileged houses. The logic behind the step was that the legitimate houses could be
202:
The separation between "legitimate" and "illegitimate" finally formally ended in the aftermath of the scandal
518:
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31:
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97:
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made no distinction between good and bad plays; what it proposed and promoted was that, in
248:
165:
57:
623:
Palimpsests: Biographies of 50 City
Districts. International Case Studies of Urban Change
30:
This article is about the theatrical style. For the building where plays are staged, see
101:
846:
599:
221:
229:
eventually ended the split between legitimate and illegitimate theatres in
England.
243:
208:
169:
146:
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that restricted the powers of the Lord
Chamberlain and gave additional powers to
679:
The London Stage 1890-1899: A Calendar of
Productions, Performers, and Personnel
203:
125:
17:
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created in 1965–66. The play was first performed in London in late 1965 at the
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was extended to contrast with motion pictures and television as well.
124:
The licensing restricted performances of classical authors and plays—
408:
Phyllis Hartnoll and Peter Found, eds. "Legitimate Drama " entry.
65:
61:
157:, which had musical underscoring played during the dialogue.
100:, which restricted "serious" theatre performances to the two
332:
Joyce M. Hawkins and Robert Allen, eds. "Legitimate" entry.
80:, as well as recorded performances on film and television.
436:
1. legitimate drama. 2. an actor in a legitimate drama. "
657:. University of Michigan School of Music. 1 January 1996
428:
Joyce M. Hawkins and Robert Allen, eds. "Legit" entry.
108:
in 1662. Other theatres were permitted to show comedy,
815:
Banned Plays: Censorship Histories of 125 Stage Dramas
472:
Historical Dictionary of British Theatre: Early Period
610:
Archived on 28 September 2007. Accessed 20 July 2022.
568:
The Annals of Covent Garden Theatre from 1732 to 1897
781:
The Cambridge Illustrated History of British Theatre
328:
326:
324:
300:
The Random House Dictionary of the English Language.
509:Dennis Kennedy, ed. Oxford University Press, 2003.
507:
The Oxford Encyclopedia of Theatre and Performance.
318:'the legitimate', the legitimate theater or drama."
216:. The house was licensed to perform serious plays.
40:is live performance that relies almost entirely on
713:Scenes of Madness: A Psychiatrist at the Theatre
655:"School of Music, Theatre & Dance Programs"
336:Oxford University Press, 1991. pp. 820-821. "
104:licensed to perform "spoken drama" after the
8:
505:Michael R. Booth. "Legitimate drama" entry.
410:The Concise Oxford Companion to the Theatre.
747:The Methuen Drama Dictionary of the Theatre
430:The Oxford Encyclopedic English Dictionary.
334:The Oxford Encyclopedic English Dictionary.
710:Davis, Derek Russell (11 September 2002).
404:
402:
400:
353:
351:
349:
347:
52:refers to legitimate theatre or drama and
565:Wyndham, Henry Saxe (21 November 2013).
501:
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412:2nd ed. Oxford University Press, 1996.
294:
292:
290:
288:
284:
260:
778:Trussler, Simon (21 September 2000).
600:"Favorite Things: Legitimate Theatre"
469:Grantley, Darryll (10 October 2013).
7:
298:Jess Stein, ed. "Legitimate" entry.
676:Wearing, J. P. (21 November 2013).
531:Harrison, Martin (1 January 1998).
744:Law, Jonathan (16 December 2013).
137:and musical works, such as opera,
25:
432:Clarendon Press, 1991. pp. 820. "
117:entertainment in those days, the
812:Sova, Dawn B. (1 January 2004).
784:. Cambridge University Press.
620:Knox, Paul (5 November 2012).
571:. Cambridge University Press.
191:In the 20th century, the term
183:In the 19th century, the term
1:
302:Random House, 1966. p. 819. "
222:English Stage Theatre Company
884:
29:
835:– via Google Books.
801:– via Google Books.
767:– via Google Books.
733:– via Google Books.
699:– via Google Books.
665:– via Google Books.
643:– via Google Books.
588:– via Google Books.
554:– via Google Books.
492:– via Google Books.
227:repeal of the Act in 1968
96:date back to the English
48:, while the abbreviation
818:. Infobase Publishing.
534:The Language of Theatre
519:Theatres Regulation Act
452:.2: May 2000. p. 213.
364:.2: May 2000. p. 212.
160:This changed with the
153:, concerts, dance and
626:. Walter de Gruyter.
98:Licensing Act of 1737
604:The Partial Observer
537:. Psychology Press.
517:"After 1843 and the
682:. Scarecrow Press.
606:, 5 November 2005.
475:. Scarecrow Press.
214:Royal Court Theatre
139:Victorian burlesque
106:English Restoration
32:Theater (structure)
27:Type of performance
853:History of theatre
387:legitimate theatre
378:legitimate theatre
374:legitimate theatre
193:legitimate theatre
90:legitimate theatre
38:Legitimate theatre
868:Theatrical genres
863:Stage terminology
750:. A&C Black.
166:local authorities
162:Theatres Act 1843
16:(Redirected from
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383:legitimate drama
372:"The expression
359:Theatre Journal.
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312:legitimate drama
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185:legitimate drama
176:. In the 1890s
112:, opera, dance,
94:legitimate drama
46:legitimate drama
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394:commercially."
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716:. Routledge.
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244:Musical film
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147:extravaganza
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36:
831:20 November
797:20 November
763:20 November
729:20 November
695:20 November
661:20 November
639:20 November
584:20 November
550:20 November
488:20 November
341:spectacle."
271:in the U.S.
204:Edward Bond
174:music halls
126:Shakespeare
119:music halls
847:Categories
279:References
197:legitimate
151:music hall
114:music hall
88:The terms
78:vaudeville
155:melodrama
135:pantomime
110:pantomime
74:burlesque
70:melodrama
458:25068777
391:relation
370:25068777
239:Diegesis
233:See also
143:burletta
130:censored
42:diegetic
269:theater
84:History
822:
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686:
630:
575:
541:
513:
479:
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368:
314:. ...
308:Theat.
454:JSTOR
366:JSTOR
338:—adj.
304:—adj.
255:Notes
218:Saved
209:Saved
66:revue
62:farce
54:legit
833:2016
820:ISBN
799:2016
786:ISBN
765:2016
752:ISBN
731:2016
718:ISBN
697:2016
684:ISBN
663:2016
641:2016
628:ISBN
586:2016
573:ISBN
552:2016
539:ISBN
511:ISBN
490:2016
477:ISBN
414:ISBN
172:and
92:and
76:and
434:—n.
316:—n.
306:8.
206:'s
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