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Nineteenth-century theatre describes a wide range of movements in the theatrical culture of Europe and the United States in the 19th century. In the West, they include Romanticism, melodrama, the well-made plays of Scribe and Sardou, the farces of Feydeau, the problem plays of Naturalism and Realism, Wagner's operatic ''Gesamtkunstwerk'', Gilbert and Sullivan's plays and operas, Wilde's drawing-room comedies, Symbolism, and proto-Expressionism in the late works of August Strindberg and Henrik Ibsen.〔Brockett and Hildy (2003, 293–426).〕 Several important technical innovations were introduced between 1875 and 1914. First gas lighting and then electric lights, introduced in London's Savoy Theatre in 1881, replaced candlelight. The elevator stage was first installed in the Budapest Opera House in 1884. This allowed entire sections of the stage to be raised, lowered, or tilted to give depth and levels to the scene. The revolving stage was introduced to Europe by Karl Lautenschläger at the Residenz Theatre, Munich in 1896. ==Melodrama== (詳細はscenic effects, an intensely emotional but codified acting style, and a developing stage technology that advanced the arts of theatre towards grandly spectacular staging. It was also a highly reactive form of theatre which was constantly changing and adapting to new social contexts, new audiences and new cultural influences. This, in part, helps to explains its popularity throughout the 19th century.〔Booth (1995, 300).〕 Beginning in France after the theatre monopolies were abolished in 1791 during the French Revolution, melodrama became the most popular theatrical form of the century. Although monopolies and subsidies were reinstated under Napoleon, theatrical melodrama continued to be more popular and brought in larger audiences than the state-sponsored drama and operas. Although melodrama can be traced back to classical Greece, the term ''mélodrame'' did not appear until 1766 and only became popular after 1800. August von Kotzebue's ''Misanthropy and Repentance'' (1798) is often considered the first melodramatic play. The plays of Kotzebue and René Charles Guilbert de Pixérécourt established melodrama as the dominant dramatic form of the early 19th century.〔Brockett and Hildy (2003, 277).〕 David Grimsted, in his book ''Melodrama Unveiled'' (1968), argues that: Its conventions were false, its language stilted and commonplace, its characters stereotypes, and its morality and theology gross simplifications. Yet its appeal was great and understandable. It took the lives of common people seriously and paid much respect to their superior purity and wisdom. () And its moral parable struggled to reconcile social fears and life's awesomeness with the period's confidence in absolute moral standards, man's upward progress, and a benevolent providence that insured the triumph of the pure.〔Grimsted (1968, 248).〕 In Paris, the 19th century saw a flourishing of melodrama in the many theatres that were located on the popular Boulevard du Crime, especially in the Gaîté. All this was to come to an end, however, when most of these theatres were demolished during the rebuilding of Paris by Baron Haussmann in 1862.〔(The golden age of the Boulevard du Crime ) Theatre online.com (in French)〕 By the end of the 19th century, the term melodrama had nearly exclusively narrowed down to a specific genre of salon entertainment: more or less rhythmically spoken words (often poetry)—not sung, sometimes more or less enacted, at least with some dramatic structure or plot—synchronized to an accompaniment of music (usually piano). It was looked down on as a genre for authors and composers of lesser stature (probably also the reason why virtually no realisations of the genre are still remembered). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Nineteenth-century theatre」の詳細全文を読む スポンサード リンク
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