The Royal Dutch Theatre at the Hague 1804–1876 by Gerd Aage Gillhoff
By Gerd Aage Gillhoff
The background of the Koninklijke Nederduitsche Schouwburg (Royal Dutch Theatre) on the Hague starts in I804. even if the theatre didn't undergo that identify till Willem I granted it an annual subsidy a decade later. the current research covers the years from I804 to I876 as the corporation of Royal Dutch avid gamers which was once disbanded within the latter 12 months had its beginning within the crew of actors that gave the hole functionality of the recent theatre at the K-orte V oorhout within the spring of I804. throughout the whole seventy-two years there have been no very important alterations of coverage on the Royal Dutch Theatre; it was once now not till I876 new interval started within the theatrical lifetime of the courtroom urban and of Holland. even though the Dutch avid gamers made common appearances in different cities and towns, really in Rotterdam and Leiden, the writer has restricted himself up to attainable to a dis cussion in their actions on the Hague. there's a virtually entire absence of newspaper feedback at the Haagsche Schouwburg during the first 3 fourths of the 19th Century, yet this lack will be way more critical if the higher a part of the interval, no less than from approximately I830 to I876, had no longer been one in all theatrical and dramatic poverty . now we have adequate assets to grasp that the performances and performs have been infrequently higher than me diocre. The little newspaper feedback on hand is mostly of such an adulatory nature that it may possibly hardly ever be referred to as worthy.
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Additional info for The Royal Dutch Theatre at the Hague 1804–1876
The explanation probably is that the Dutch management, which was often quick to present in translation a work successfully staged at the Thedtre Franfais de La Haye, became acquainted with the new French plays sooner than with the new German ones, since the former were often introduced to the court city by the French players not long after their Parisian premiere. It is quite possible that many of Kotzebue's pieces reached The Hague by way of France. In England the Kotzebue vogue attained its peak in 1798 and 1799, but in France he was still extremely popular in the first decades of the Nineteenth Century.
J. Ruffa, G. van Beek, J. Beems, Rosier Faassen, C. P. T. Bigot, C. R. H. Spoor, H. G. Kiehl, and A. Wijnstok. As a rule these men confined their efforts to the popular drama, but occasionally one of them would try his skill at translating a play of more than average worth. Spoor translated Hugo's Marion Delorme, and G. van Beek Le Gendre de M. Poirier, Der Fechter von Ravenna, and Zop! und Schwert. The latter's work evoked repeated protests from the critics of Het Nederlandsch Tooneel. Sometimes a hack translating a verse drama would simplify his task by rendering it into prose.
Rarely had the audiences of The 49 THE FRENCH PLAYS Hague seen such a spectacle. A play with a new setting was something of an event at the Haagsche Schouwburg, but this drama had four of them, all by the eminent artist B. J. van Hove. The last two acts especially attracted much attention and were staged separately on a few occasions. Half an hour was needed to prepare the stage for the fourth act. The playbills describe it thus: "The action takes place aboard the frigate Medusa on the high seas below the equator.