Legitimate theatre[a] is live performance that relies almost entirely on diegetic elements, with actors performing through speech and natural movement.[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.[4][5][6] Legitimate theatre and dramas are contrasted with other types of stage performance such as musical theatre, farce, revue, melodrama, burlesque and vaudeville,[1][2] as well as recorded performances on film and television.[1]
- ^ a b c Jess Stein, ed. "Legitimate" entry. The Random House Dictionary of the English Language. Random House, 1966. p. 819. "—adj. 8. Theat. of or pertaining to professionally produced stage plays, as distinguished from burlesque, vaudeville, television, motion pictures, etc.: legitimate drama. ... —n. 'the legitimate', the legitimate theater or drama."
- ^ a b c Joyce M. Hawkins and Robert Allen, eds. "Legitimate" entry. The Oxford Encyclopedic English Dictionary. Oxford University Press, 1991. pp. 820-821. "—adj. 5. constituting or relating to serious drama (including both comedy and tragedy) as distinct from musical comedy, farce, revue, etc. The term arose in the 18th c. ... It covered plays dependent entirely on acting with little or no singing, dancing or spectacle."
- ^ a b Mark Hodin. "The Disavowal of Ethnicity: Legitimate Theatre and the Social Construction of Literary Value in Turn-of-the-Century America." Theatre Journal. 52.2: May 2000. p. 212. JSTOR 25068777 "The expression legitimate theatre...became vernacular within [the] turn-of-the-[20th]-century amusement market. The legitimate prefix confirmed the fact that conventional stage plays no longer monopolized the definition of legitimate theatrical entertainment, while, at the same time, asserted that they did (or could), as a strategy for profiting under these new conditions. As such, legitimate theatre referred to the history of theatre's high-cultural place, most directly to the authority invested in the Patent playhouses of eighteenth century Britain, but it also suggested the sort of literariness associated with legitimate drama, a term familiar to British and American playgoers, actors, and critics in the nineteenth century for distinguishing classic plays (Shakespeare, Molière, Sheridan) from the contemporary melodramas they also enjoyed. As it does today, however, legitimate theatre made no distinction between good and bad plays; what it proposed and promoted was that, in relation to other competing forms of commercial amusement, the particular value of conventionally staged drama was that it provided the best occasion and opportunity available for acquiring cultural prestige, "literary" value, commercially."
- ^ a b Phyllis Hartnoll and Peter Found, eds. "Legitimate Drama " entry. The Concise Oxford Companion to the Theatre. 2nd ed. Oxford University Press, 1996. ISBN 9780192825742
- ^ Joyce M. Hawkins and Robert Allen, eds. "Legit" entry. The Oxford Encyclopedic English Dictionary. Clarendon Press, 1991. pp. 820. "—n. 1. legitimate drama. 2. an actor in a legitimate drama. [abbr.]"
- ^ Mark Hodin. "The Disavowal of Ethnicity: Legitimate Theatre and the Social Construction of Literary Value in Turn-of-the-Century America." Theatre Journal. 52.2: May 2000. p. 213. JSTOR 25068777
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