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Theatrical paintings represented a kind of win-win arrangement for actor and artist. The former benefited from an image that would enhance his or her celebrity — particularly as engravings were often made after a painting, so as to cater for the mass market.
It was in a bid to capture these celebrities at work that a new artistic genre took off: the theatrical painting. A fine early example is William Hogarth’s 1745 picture of Garrick as Shakespeare’s Richard III (above), the role with which the actor made his name. He is seen in his tent on the eve of the Battle of Bosworth, having woken from a dream in which he is rebuked by the ghosts of his murder victims.
At the start of the 18th century, actors had tended towards declamation, delivering lines in a grand, formal manner, where sound was everything. Garrick helped effect a shift towards more naturalistic performances in which acting became more active and visual.
In line with dramatic performances becoming more visual, stage sets in the 18th century became more elaborate. Philip James de Loutherbourg’s work at Drury Lane Theatre was particularly noteworthy: he is credited with introducing three-dimensional scenery instead of flat painted screens behind the actors.
Early in 1763, there was a riot at Covent Garden Theatre, during a performance of Thomas Arne’s opera Artaxerxes. The public had grown used to the custom of sneaking into a show’s second half at a concessionary rate. Covent Garden’s management, however, announced on its playbills that only full-price tickets for Artaxerxes would be available.
In het theater zien we de werkelijkheid in al haar facetten in gecomprimeerde, beter gezegd geabstraheerde vorm terug. Het individualisme van de mens, een belangrijk gegeven in de hedendaagse maatschappij, vinden we in het theater terug in de wijze waarop meestal één acteur of object tegelijk belicht wordt. De verdere omgeving op het toneel is gehuld in het donker, zodra een acteur geen rol meer speelt, dooft het licht en lijkt hij opgezogen te worden naar de achtergrond. Alle aandacht richt zich op de figuren in de schijnwerpers en het publiek laat zich gewillig meevoeren in het spel van deze zinsbegoocheling.