Raising a Little Theater
- The Pic-Nic Society
- “Raising a Little Theater”
- What do you think about the perceived dangers of theatricals? Tell me in the comments.
- Find References Here
- Read more about Home Theatricals Here
- Learn more about Regency Era Amusements Here
In Austen’s Mansfield Park, Tom talks about ‘raising a little theater’ paralleling it to the idea of raising a little hell
In the 1790’s attitudes toward home theatricals began to change.
“In large part, this can be attributed to the profound changes taking place in the political and cultural milieu due to the French Revolution, the Reign of Terror, and its aftermath. In such a climate of fear and hostility, extravagant private theatres with lavish displays of opulence became easy targets. While, to a great extent, the press continued to follow the developments at such theatres with avid interest and publish flattering—often to the point of being sycophantic—reviews, the circulation of several pernicious polemical publications and a series of exceptionally scathing caricatures by James Gilray started to have a detrimental effect on public perception.” (Haugen, 2014)
The Pic-Nic Society
The Pic-Nic Society, principally organized by the Countess of Buckinghamshire, began holding plays in 1802. The society, who utilized a private theatre on Tottenham Street did nothing to improve the public opinion of amateur theater. The group not only performed plays, but hosted an entire evening of entertainments: dancing, singing, card playing and a pic-nic supper—rather like a modern potluck, where all attendees contributed to the meal. With the Countess’ reputation as an inveterate faro player and compulsive gambler, her reputation for aristocratic excess tainted the Pic-Nic Society. With accusations of decadence and debauchery abounding and pointed derogatory caricatures by Gilray (Dilettanti theatricals and blowing up the pic nic society) circulating widely, the Pic-Nic Society folded under the weight of public censure.
“Raising a Little Theater”
Aristocratic excess was hardly the only concern regarding the ‘safety’ and propriety of home theatricals. In Austen’s Mansfield Park, Tom talks about ‘raising a little theater’ paralleling it to the idea of raising a little hell; for him a theatrical provided an opportunity to say and do things that were normally off limits in polite society.
“Acting, by its very nature, involves putting on different gestures, behaviors, manners, and emotions, fashioning and re-fashioning characters and identities in a process that, to the spectator, appears almost as quick and easy as changing costumes. But when this role playing takes place on a private stage, the mutability of the boundaries that defined and identified 250 categories of everyday life in the eighteenth century—gender, class, social status, rank, race, national allegiance—is laid bare, for the distinction between actor and role is blurred in such a setting where the close connections of family and friendship between actors and audience delimit any objectivity or distance.” (Haugen, 2014) The blurring of these all-important lines posed a danger to the vulnerable in society—particularly the children and young women—who needed to be protected from these disquieting and potentially ruinous effects.
>> for the distinction between actor and role is blurred in such a setting where the close connections of family and >>friendship between actors and audience delimit any objectivity or distance.
This sums up pretty well the problem with the Mansfield Park group of young people and their theatricals. “Motherly” embraces between Maria Bertram and Henry Crawford indeed!
I’m not quite sure I can follow what it means that the mutability of the boundaries is laid bare… If the author means that the lines defining various aspects of life, various rules are blurred, and this suggests the audience that those boundaries are not quite as fixed, as firmly set in stone as rulers/leaders would have it believed – it certainly is an effect that stirs the pot!