Thespis E-Book

W. S. Gilbert

• Herausgeber: Booksell-Verlag
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2020

Beschreibung

In "Thespis," W. S. Gilbert masterfully blends satire and humor within a framework that critiques the theatrical world of his time. This comic operetta, first performed in 1871, serves as a clever vehicle for Gilbert's characteristic wit, exploring the nature of art and performance through the fantastical tale of a troupe of actors who encounter the mythical god of Satire. The work showcases Gilbert's adeptness at intertwining playful language with deeper cultural commentary, a hallmark of his literary style that laid the groundwork for modern musical theatre. The operetta's lush musicality, co-created with Arthur Sullivan, enhances its whimsical narrative and highlights the intricate relationship between dialogue and melody, making it a quintessential product of Victorian theatre. W. S. Gilbert was a pivotal figure in the realm of comic theatre, known for his sharp jests and keen observations on society. Born in 1836, his early experiences in law and literature profoundly shaped his unique voice, allowing him to blend elements of comedy and social commentary compellingly. His collaboration with Sullivan, renowned for his melodic genius, further empowered Gilbert to explore themes of absurdity and satire, culminating in works that challenged societal conventions and entertained a wide audience. "Thespis" is highly recommended for readers and theatre enthusiasts alike who appreciate the complexities of humor and social critique within a melodious tapestry. Gilbert's incisive commentary remains relevant, making this operetta not just a historical artifact but an enjoyable exploration of artistic authenticity. Dive into the world of "Thespis" and experience the ingenuity of Gilbert's storytelling that continues to resonate with today's audiences. In this enriched edition, we have carefully created added value for your reading experience: - A succinct Introduction situates the work's timeless appeal and themes. - The Synopsis outlines the central plot, highlighting key developments without spoiling critical twists. - A detailed Historical Context immerses you in the era's events and influences that shaped the writing. - A thorough Analysis dissects symbols, motifs, and character arcs to unearth underlying meanings. - Reflection questions prompt you to engage personally with the work's messages, connecting them to modern life. - Hand‐picked Memorable Quotes shine a spotlight on moments of literary brilliance. - Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

Leseprobe

W. S. Gilbert

Thespis

Published by Good Press, 2022

[email protected]

EAN 4064066432591

Table of Contents

Dramatis Personae

Gods

Thespians

Act I

Act II

Dramatis Personae

Table of Contents

Gods

Table of Contents

Jupiter, an Aged Deity

Apollo, an Aged Deity

Mars, an Aged Deity

Diana, an Aged Deity

Mercury

Thespians

Table of Contents

Thespis

Sillimon

Timidon

Tipseion

Preposteros

Stupidas

Sparkeion

Nicemis

Pretteia

Daphne

Cymon

Act I

Table of Contents

Scene – The ruins of the the Temple of the Gods, on summit of Mount Olympus. Picturesque shattered columns, overgrown with ivy, etc. R. and L. with entrances to temple (ruined) R. Fallen columns on the stage. Three broken pillars 2 R.E. At the back of stage is the approach from the summit of the mountain. This should be "practicable" to enable large numbers of people to ascend and descend. In the distance are the summits of adjacent mountains. At first all this is concealed by a thick fog, which clears presently. Enter (through fog) Chorus of Stars coming off duty as fatigued with their night's work.

CHO.

Throughout the night the constellations

Have given light from various stations.

When midnight gloom falls on all nations,

We will resume our occupations.

SOLO.

Our light, it's true, is not worth mention;

What can we do to gain attention

When night and noon with vulgar glaring

A great big moon is always flaring?

During chorus, enter Diana, an elderly goddess. She is carefully wrapped up in cloaks, shawls, etc. A hood is over her head, a respirator in her mouth, and galoshes on her feet. During the chorus, she takes these things off and discovers herself dressed in the usual costume of the Lunar Diana, the goddess of the moon.

DIA. (shuddering) Ugh. How cold the nights are. I don't know how it is, but I seem to feel the night air a good deal more than I used to. But it is time for the sun to be rising. (Calls) Apollo.

AP. (within) Hollo.

DIA. I've come off duty – it's time for you to be getting up.

Enter Apollo. He is an elderly "buck" with an air of assumed juvenility and is dressed in dressing gown and smoking cap.

AP. (yawning) I shan't go out to-day. I was out yesterday and the day before and I want a little rest. I don't know how it is, but I seem to feel my work a great deal more than I used to.

DIA. I am sure these short days can't hurt you. Why, you don't rise 'til six and you're in bed again by five; you should have a turn at my work and see how you like that – out all night!

AP. My dear sister, I don't envy you – though I remember when I did – but that was when I was a younger sun. I don't think I'm quite well. Perhaps a little change of air will do me good. I've a mind to show myself in London this winter; they'll be very glad to see me. No! I shan't go out today. I shall send them this fine, thick wholesome fog and they won't miss me. It's the best substitute for a blazing sun – and like most substitutes, nothing at all like the real thing. (To fog) Be off with you.

Fog clears away and discovers the scene described. Hurried Music. Mercury shoots up from behind precipice at back of stage. He carries several parcels afterwards described. He sits down, very much fatigued.

MER. Home at last. A nice time I've had of it.

DIA. You young scamp – you've been out all night again. This is the third time you've been out this week.

MER. Well, you're a nice one to blow me up for that.

DIA. I can't help being out all night.

MER. And I can't help being down all night. The nature of Mercury requires that he should go down when the sun sets, and rise again when the sun rises.

DIA. And what have you been doing?

MER. Stealing on commission. There's a set of false teeth and a box of Life Pills for Jupiter – an invisible peruke and a bottle of hair dye – that's for Apollo – a respirator and a pair of galoshes – that's for Cupid – a full-bottomed chignon, some auricomous fluid, a box of pearl-powder, a pot of rouge, and a hare's foot – that's for Venus.

DIA. Stealing. You ought to be ashamed of yourself.

MER. Oh, as the god of thieves I must do something to justify my position.

DIA. and AP. (contemptuously) Your position.

MER. Oh, I know it's nothing to boast of even on earth. Up here, it's simply contemptible. Now that you gods are too old for your work, you've made me the miserable drudge of Olympus – groom, valet, postman, butler, commissionaire, maid of all work, parish beadle, and original dustman.

AP. Your Christmas boxes ought to be something considerable.

MER. They ought to be, but they're not. I'm treated abominably. I make everybody and I'm nobody. I go everywhere and I'm nowhere. I do everything and I'm nothing. I've made thunder for Jupiter, odes for Apollo, battles for Mars, and love for Venus. I've married couples for Hymen and six weeks afterwards, I've divorced them for Cupid, and in return I get all the kicks while they pocket the halfpence. And in compensation for robbing me of the halfpence in question, what have they done for me?

AP. Why they've – ha! ha! they've made you the god of thieves.

MER. Very self-denying of them. There isn't one of them who hasn't a better claim to the distinction than I have.

Oh, I'm the celestial drudge,

For morning to night I must stop at it.

On errands all day I must trudge,

And stick to my work til I drop at it.

In summer I get up at one

(As a good-natured donkey I'm ranked for it)

Then I go and I light up the sun

And Phoebus Apollo gets thanked for it.

Well, well, it's the way of the world.

And will be through all its futurity.

Though noodles are baroned and earled,

There's nothing for clever obscurity.

I'm the slave of the Gods, neck and heels,

And I'm bound to obey, though I

rate

at 'em.

And I not only order their meals,

But I cook 'em and serve 'em and wait at 'em.

Then I make all their nectar, I do

(What a terrible liquor to rack us is),

And whenever I mix them a brew,

Why, all the thanksgivings are

Bacchus

's!

Well, well, it's the way of the world, etc.

Then reading and writing I teach,

And spelling-books many I've edited.

And for bringing those arts within reach,

That donkey

Minerva

gets credited.

Then I scrape at the stars with a knife,

And plate-powder the moon (on the days for it),

And I hear all the world and his wife

Awarding Diana the praise for it.

Well, well, it's the way of the world, etc.

After the song, a very loud and majestic music is heard.

DIA. and MER. (looking off) Why, who's this? Jupiter, by Jove.