Women’s Success in Late 19th-Century Europe Essay

Long understated and overlooked, the contributions of women to European theater have just been currently valued and acknowledged by scholars. In the early 16^th century, Women in Europe engaged in private and public activities associated with the theaters. These individuals participated not only as playwrights but also as audience members, managers, critics, and producers. People who motivated women to join in theater include; Marie de Medicis, Elizabeth I, Anne of Denmark, and Catherine de Medicis (Richardson, 2020). These were among the women who initiated dramatic works, participated as honored audience members, and sponsored some of the events. In addition, all these individuals granted the events the legitimacy they deserved as private enterprises. The public or professional theater, nevertheless, was viewed as morally inappropriate, particularly for women. Despite this perception, European women in the early 16^th century defied moral restrictions and social beliefs by both pursuing professional acting and writing opportunities and going to theatrical productions.

University and public stages were not a place for women in the English Renaissance period. However, according to research, aristocratic females in Europe played a huge role by contributing to some of the art produced in theaters (Hopkins, 2018). An example of these women was Queen Elizabeth I, who was the patron of a playing firm consisting of the Queen’s men. These individuals were popular and had the most interesting plays in the 1580s. According to Hopkins (2018), Pembroke’s countess, Mary Sidney, was among some of the most influential individuals in the arts. During her time, she was in the production panel and further sponsored a small group of men in the acting circle. Additionally, she some of the early dramatic works which targeted small households (Doty & Gurnis, 2018). Today, women can freely utilize both public and private stages to showcase their works. Furthermore, even the lesser-known female artists have been recognized as some of the significant contributors in European Theater today.

While they were not allowed to have licenses to perform during the early 17^th century in Denmark, women were given a silent but expressive role by Queen Anne’s commissioned masques. The Queen and other female courtiers, alongside male professional dancers, would participate in dances having at least eight masques. Her presence was significant, and, as a result, she played a crucial role in producing some of the best playwrights of their period (Bates, 2018). Queen Anne of Denmark was an influential figure in the masquing sector, which provided noblewomen access to this stage. Due to her actions, the late 16^th century saw women being allowed to pursue careers in the playwright industry (Hopkins, 2018). Modern theater today has several women contributing to different aspects of theater. Initially, only men were allowed to produce their content; however, because of Queen Anne’s contributions, women have the platform to change the theater. They have initiated numerous influential projects that have changed the theatrical stage.

Another influential figure in theatrical works was Antonia Pulci who primarily produced playwrights in vernacular. History documents her as one of the playwrights who mainly produced content in the catholic convents (Bates, 2018). Because she used to deal with nuns, most of her works in speculated to have been performed by women. With this development, her dramatic works were published in the 16^th century, which saw an increase in women playwrights within the catholic setup. Antoni’s successes influenced the rise of such an artist as Margherita Costa, who went to produce drams, operas, and songs. Antonia’s works have been crucial in nurturing today’s Europe top female artists in the theatrical field. Women are now producing different content in the playwright, producer, critical and dramatic fields. They are continuing to have a significant impact on theaters in different parts of the world.

During the early 19^th century, female actors, dancers, and producers became aware that they had to fight for their rights on the theatrical stage. For instance, Sarah Bernhardt was among first actresses to appear in motion pictures and make sound recordings (cite). As a result, they began to campaign for progressive measures that allowed them to participate on public and private stages. Thus, attention started shifting towards supporting women in performing arts on big stages. Women had the desire and skills to express their feelings and thoughts with the aid of devices and platforms that could entertain huge audiences. These women utilized chances that allowed them to shape both the theatrical scene and the community. During the early 20^th century, women were allowed to express ideas concerning vital matters such as gender equality and poverty through dramatization. Through the years, women became more influential in the theater industry, with most of them playing significant roles.

Today, most people can use women as their mentors due to their important contributions to the theatrical industry. For instance, Deborah Warner introduced new ways of directing and producing films in the 20^th century. According to research, she was the most feminist film director during her period due to her strong advocacy for the female character (Doty & Gurnis, 2018). She can be compared to Fiona Shaw’s early film production, which had similar attributes of appreciating the female aspects of acting (Richardson, 2020). Additionally, Janet Achurch was best known for her managerial role and acting Shakespeare novels (Ince, 2019). These women had an impact in transforming the traditional theatrical participants, which mainly consisted of men. They showed that they can also be included in the scene and that they can also be excellent actors, producers, playwrights, and dancers.

While discussing the essence of contemporary European theater, it is vital to center on female theatrical actresses, dramatics, directors, and leaders. According to research, women have the potential of adding more to modern European theater compared to men (Doty & Gurnis, 2018). The reason for this perception is attributed to the fact that men are often associated with traditional concepts. On the other hand, women are capable of initiating progressive ideas that can develop the theatrical world. This transformation is evident in Warner’s contribution in this field since she introduced new ideas that are currently being utilized. In a field that was mostly dominated by men, women have shown a high level of resilience that has shaped the theatrical field for the better. In addition, the modern stage has some of the best female producers, dancers, and managers who are female.

For the longest time, women have played a less significant part in the field of theater, especially between the 15^th and 16^th centuries. They were not allowed to physically express their skills in not only public but private theaters. However, due to their progressive way of thinking, they began to influence other women. Through prominent female figures such as Queen Elizabeth I, women slowly began to gain access to theatrical stages. Through the years, they have proven to be some of the most progressive personalities in the film, production, and acting industries. They have influenced other generations and transformed the stage by nurturing diversity and bringing new ideas.

References

Bates, C. (2018). A companion to Renaissance poetry. John Wiley & Sons.

Doty, J. S., & Gurnis, M. (2018). Theatre scene and theatre public in early modern London.Shakespeare, 14(1), 12-25. Web.

Duckett, V. (2018). The actress-manager and the movies: resolving the double life of Sarah Bernhardt. Nineteenth Century Theatre and Film, 45(1), 27-55.

Hopkins, L. (2018). Strange truths. Shakespeare’s Histories and Counter-Histories. Web.

Ince, B. (2019). Rediscovering Nora Charrington, actress and Fabian. Theatre Notebook, 73(1), 18-44.

Richardson, B. (2020). Women and the circulation of texts in Renaissance Italy. Cambridge University Press.