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Legitimate theatre[a] is live performance that relies almost entirely on diegetic elements, with actors performing through speech and natural movement Each part will be illustrated with postcards from the author’s collection. [2][3] traditionally, performances of such theatre were termed legitimate drama, [4][2][3] while the abbreviation the legitimate refers to legitimate theatre or drama and legit is a noun referring both to such dramas and actors in these dramas.
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While decorum was well established as the norm in legitimate theaters by the last quarter of the century, complaints about audience behavior indicate that it was not always honored —sometimes abbreviated to ‘legit’—term which arose in the 18th century during the struggle of the patent theatres covent garden and drury lane against the illegitimate playhouses springing up all over. The nature of the complaints had changed, however
Drama theater had subdivided along class lines, and criticism was directed mostly at the affluent audiences of legitimate theater for their inattention and lack of.
Legitimate theater legitimate theater is live performance that relies entirely on diegetic elements, with actors performing through speech and natural movement Diegetic elements are internal, or related to the imaginary world the characters of the play are depicting Musical accompaniment that is done for effect on the audience, but not supposed to be part of the experience of the characters. There was a move to engage artistes from the ‘legitimate’ theatre and concert hall
Emily soldene was ahead of the pack, appointed by charles morton to appear at the oxford in the mid 1860s. Legitimate theater (countable and uncountable, plural legitimate theaters) (uncountable) serious drama, as opposed to farce or musical theater. Focusing on the legitimate theatre in the opening decades of the twentieth century, the goal is to establish what it meant to work as a stage performer in an era of unprecedented economic and technological change. The conflict between high and low that defined the legitimate theatre during the 1920s thus set old money against new
A europeanized cultural tradition against a new vernacular one that was impudently laying claim to the brand names ‘modern’ and ‘american’
