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List of Jane the Virgin episodes
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Jane the Virgin is an American comedy-drama television series that premiered on The CW on October 13, 2014. The series follows Jane Villanueva, a hard-working, religious young Latina woman whose vow to save her virginity until marriage is shattered when a doctor mistakenly artificially inseminates her during a checkup. To make matters worse, the biological donor is a married man, a former playboy and cancer survivor who is not only the new owner of the hotel where Jane works, but was also her former teenage crush.
The show was ordered to series on May 8, 2014[1], followed by a full season order on October 21, 2014.[2] On January 11, 2015, the show was renewed for a second season.[3] On March 11, 2016, the show was renewed for a third season.[4] On January 8, 2017, the show was renewed for a fourth season[5], which debuted on October 13, 2017.[6]
As of April 13, 2018,[update] 80 episodes of Jane the Virgin have aired.
Contents
[hide]
1 Series overview
2 Episodes
2.1 Season 1 (2014-15)
2.2 Season 2 (2015–16)
2.3 Season 3 (2016–17)
2.4 Season 4 (2017–18)
3 Ratings
4 References
5 External links
Series overview[edit]
Season
Episodes
Originally aired
First aired
Last aired
1 22 October 13, 2014 (2014-10-13) May 11, 2015 (2015-05-11)
2 22 October 12, 2015 (2015-10-12) May 16, 2016 (2016-05-16)
3 20 October 17, 2016 (2016-10-17) May 22, 2017 (2017-05-22)
4 17[7] October 13, 2017 (2017-10-13) April 20, 2018 (2018-04-20)[8]
Episodes[edit]
Season 1 (2014-15)[edit]
Main article: Jane the Virgin (season 1)
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)
1
1 "Chapter One" Brad Silberling Teleplay by : Jennie Snyder Urman October 13, 2014 (2014-10-13) 1.61[9]
2
2 "Chapter Two" Uta Briesewitz Jennie Snyder Urman October 20, 2014 (2014-10-20) 1.36[10]
3
3 "Chapter Three" Brad Silberling Meredith Averill October 27, 2014 (2014-10-27) 1.09[11]
4
4 "Chapter Four" Debbie Allen Corinne Brinkerhoff November 3, 2014 (2014-11-03) 1.01[12]
5
5 "Chapter Five" Edward Ornelas Josh Reims November 10, 2014 (2014-11-10) 1.22[13]
6
6 "Chapter Six" Jann Turner Paul Sciarrotta November 17, 2014 (2014-11-17) 1.09[14]
7
7 "Chapter Seven" Janice Cooke David S. Rosenthal November 24, 2014 (2014-11-24) 0.96[15]
8
8 "Chapter Eight" Norman Buckley Josh Reims & Carolina Rivera December 8, 2014 (2014-12-08) 1.22[16]
9
9 "Chapter Nine" Zetna Fuentes Corinne Brinkerhoff December 15, 2014 (2014-12-15) 1.28[17]
10
10 "Chapter Ten" Elodie Keene Meredith Averill & Christopher Oscar Peña January 19, 2015 (2015-01-19) 1.39[18]
11
11 "Chapter Eleven" Joanna Kerns Gracie Glassmeyer January 26, 2015 (2015-01-26) 1.55[19]
12
12 "Chapter Twelve" Gina Lamar David S. Rosenthal February 2, 2015 (2015-02-02) 1.24[20]
13
13 "Chapter Thirteen" Howard Deutch Josh Reims February 9, 2015 (2015-02-09) 1.34[21]
14
14 "Chapter Fourteen" Brad Silberling Paul Sciarrotta February 16, 2015 (2015-02-16) 1.31[22]
15
15 "Chapter Fifteen" Melanie Mayron Emmylou Diaz & David S. Rosenthal March 9, 2015 (2015-03-09) 1.26[23]
16
16 "Chapter Sixteen" Joanna Kerns Josh Reims & Carolina Rivera March 16, 2015 (2015-03-16) 1.10[24]
17
17 "Chapter Seventeen" Uta Briesewitz Amy Rardin & Jessica O'Toole April 6, 2015 (2015-04-06) 0.93[25]
18
18 "Chapter Eighteen" Edward Ornelas Meredith Averill April 13, 2015 (2015-04-13) 1.03[26]
19
19 "Chapter Nineteen" Robert Luketic Emmylou Diaz & David S. Rosenthal April 20, 2015 (2015-04-20) 1.05[27]
20
20 "Chapter Twenty" Debbie Allen Corinne Brinkerhoff & Paul Sciarrotta April 27, 2015 (2015-04-27) 1.06[28]
21
21 "Chapter Twenty-One" Stuart Gillard Jessica O'Toole & Amy Rardin May 4, 2015 (2015-05-04) 1.05[29]
22
22 "Chapter Twenty-Two" Zetna Fuentes Josh Reims & Jennie Snyder Urman May 11, 2015 (2015-05-11) 1.24[30]
Season 2 (2015–16)[edit]
Main article: Jane the Virgin (season 2)
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)
23
1 "Chapter Twenty-Three" Brad Silberling Jennie Snyder Urman October 12, 2015 (2015-10-12) 1.06[31]
24
2 "Chapter Twenty-Four" Edward Ornelas David S. Rosenthal October 19, 2015 (2015-10-19) 0.84[32]
25
3 "Chapter Twenty-Five" Robert Luketic Corinne Brinkerhoff October 26, 2015 (2015-10-26) 0.94[33]
26
4 "Chapter Twenty-Six" Zetna Fuentes Paul Sciarrotta November 2, 2015 (2015-11-02) 1.09[34]
27
5 "Chapter Twenty-Seven" Jann Turner Jessica O'Toole & Amy Rardin November 9, 2015 (2015-11-09) 1.11[35]
28
6 "Chapter Twenty-Eight" Melanie Mayron Corinne Brinkerhoff & Micah Schraft November 16, 2015 (2015-11-16) 1.10[36]
29
7 "Chapter Twenty-Nine" Edward Ornelas David S. Rosenthal & Dara Resnick Creasey November 23, 2015 (2015-11-23) 0.98[37]
30
8 "Chapter Thirty" Uta Briesewitz Paul Sciarrotta & Carolina Rivera December 14, 2015 (2015-12-14) 0.98[38]
31
9 "Chapter Thirty-One" Joanna Kerns Emmylou Diaz & Jessica O'Toole & Amy Rardin January 25, 2016 (2016-01-25) 0.99[39]
32
10 "Chapter Thirty-Two" Jason Reilly Micah Schraft February 1, 2016 (2016-02-01) 1.04[40]
33
11 "Chapter Thirty-Three" Uta Briesewitz Michael J. Cinquemani February 8, 2016 (2016-02-08) 0.94[41]
34
12 "Chapter Thirty-Four" Howard Deutch Madeline Hendricks February 22, 2016 (2016-02-22) 0.94[42]
35
13 "Chapter Thirty-Five" Melanie Mayron Chantelle M. Wells February 29, 2016 (2016-02-29) 0.91[43]
36
14 "Chapter Thirty-Six" Uta Briesewitz Jessica O'Toole & Amy Rardin March 7, 2016 (2016-03-07) 0.92[44]
37
15 "Chapter Thirty-Seven" Melanie Mayron Sarah Goldfinger March 21, 2016 (2016-03-21) 0.77[45]
38
16 "Chapter Thirty-Eight" Georgina Garcia Riedel Micah Schraft March 28, 2016 (2016-03-28) 0.94[46]
39
17 "Chapter Thirty-Nine" Matthew Diamond Carolina Rivera April 11, 2016 (2016-04-11) 0.93[47]
40
18 "Chapter Forty" Anna Mastro Jessica O'Toole & Amy Rardin April 18, 2016 (2016-04-18) 0.96[48]
41
19 "Chapter Forty-One" Gina Lamar Joe Lawson April 25, 2016 (2016-04-25) 0.84[49]
42
20 "Chapter Forty-Two" Zetna Fuentes Micah Schraft & Paul Sciarrotta May 2, 2016 (2016-05-02) 0.86[50]
43
21 "Chapter Forty-Three" Melanie Mayron Jessica O'Toole & Amy Rardin & Paul Sciarrotta May 9, 2016 (2016-05-09) 0.90[51]
44
22 "Chapter Forty-Four" Jann Turner Paul Sciarrotta & Jennie Snyder Urman May 16, 2016 (2016-05-16) 0.97[52]
Season 3 (2016–17)[edit]
Main article: Jane the Virgin (season 3)
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)
45
1 "Chapter Forty-Five" Gina Lamar Jennie Snyder Urman October 17, 2016 (2016-10-17) 1.09[53]
46
2 "Chapter Forty-Six" Brad Silberling David S. Rosenthal & Paul Sciarrotta October 24, 2016 (2016-10-24) 1.10[54]
47
3 "Chapter Forty-Seven" Eva Longoria Baston Carolina Rivera & Micah Schraft October 31, 2016 (2016-10-31) 0.97[55]
48
4 "Chapter Forty-Eight" Melanie Mayron Sarah Goldfinger & Jessica O'Toole & Amy Rardin November 7, 2016 (2016-11-07) 1.08[56]
49
5 "Chapter Forty-Nine" Anna Mastro Paul Sciarrotta November 14, 2016 (2016-11-14) 0.93[57]
50
6 "Chapter Fifty" Melanie Mayron Valentina Garza & David S. Rosenthal November 21, 2016 (2016-11-21) 1.01[58]
51
7 "Chapter Fifty-One" Gina Lamar Sarah Goldfinger & Jessica O'Toole & Amy Rardin November 28, 2016 (2016-11-28) 1.15[59]
52
8 "Chapter Fifty-Two" Anna Mastro Carolina Rivera & Micah Schraft January 23, 2017 (2017-01-23) 0.99[60]
53
9 "Chapter Fifty-Three" Gina Lamar Chantelle M. Wells January 30, 2017 (2017-01-30) 0.91[61]
54
10 "Chapter Fifty-Four" Melanie Mayron Micah Schraft & Jennie Snyder Urman February 6, 2017 (2017-02-06) 0.93[62]
55
11 "Chapter Fifty-Five" Brad Silberling Paul Sciarrotta & Jennie Snyder Urman February 13, 2017 (2017-02-13) 1.07[63]
56
12 "Chapter Fifty-Six" Matthew Diamond Valentina Garza February 20, 2017 (2017-02-20) 1.06[64]
57
13 "Chapter Fifty-Seven" Zetna Fuentes Madeline Hendricks February 27, 2017 (2017-02-27) 0.88[65]
58
14 "Chapter Fifty-Eight" Melanie Mayron Merigan Mulhern March 20, 2017 (2017-03-20) 0.84[66]
59
15 "Chapter Fifty-Nine" Anna Mastro Deidre Shaw March 27, 2017 (2017-03-27) 0.89[67]
60
16 "Chapter Sixty" Micah Schraft Carolina Rivera & Micah Schraft April 24, 2017 (2017-04-24) 0.79[68]
61
17 "Chapter Sixty-One" Melanie Mayron Paul Sciarrotta May 1, 2017 (2017-05-01) 0.77[69]
62
18 "Chapter Sixty-Two" Fernando Sariñana Jessica O'Toole & Amy Rardin & David S. Rosenthal May 8, 2017 (2017-05-08) 0.99[70]
63
19 "Chapter Sixty-Three" Gina Lamar Paul Sciarrotta May 15, 2017 (2017-05-15) 0.76[71]
64
20 "Chapter Sixty-Four" Melanie Mayron Micah Schraft & Jennie Snyder Urman May 22, 2017 (2017-05-22) 0.96[72]
Season 4 (2017–18)[edit]
Main article: Jane the Virgin (season 4)
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)
65
1 "Chapter Sixty-Five" Brad Silberling Jennie Snyder Urman & Paul Sciarrotta October 13, 2017 (2017-10-13) 0.68[73]
66
2 "Chapter Sixty-Six" Gina Lamar Valentina Garza & Jessica O'Toole & Amy Rardin October 20, 2017 (2017-10-20) 0.61[74]
67
3 "Chapter Sixty-Seven" Fernando Sariñana Carolina Rivera & Micah Schraft October 27, 2017 (2017-10-27) 0.60[75]
68
4 "Chapter Sixty-Eight" Gina Lamar Deirdre Shaw & Chantelle M. Wells November 3, 2017 (2017-11-03) 0.69[76]
69
5 "Chapter Sixty-Nine" Stuart Gillard Paul Sciarrotta November 10, 2017 (2017-11-10) 0.65[77]
70
6 "Chapter Seventy" Melanie Mayron Carolina Rivera & Micah Schraft November 17, 2017 (2017-11-17) 0.61[78]
71
7 "Chapter Seventy-One" Micah Schraft Valentina Garza & Deidre Shaw December 8, 2017 (2017-12-08) 0.65[79]
72
8 "Chapter Seventy-Two" Melanie Mayron Carolina Rivera & Paul Sciarrotta January 26, 2018 (2018-01-26) 0.68[80]
73
9 "Chapter Seventy-Three" Eric Lea Valentina Garza & Chantelle M. Wells February 2, 2018 (2018-02-02) 0.67[81]
74
10 "Chapter Seventy-Four" Gina Rodriguez Micah Schraft & Paul Sciarrotta February 9, 2018 (2018-02-09) 0.80[82]
75
11 "Chapter Seventy-Five" Gina Lamar Merigan Mulhern March 2, 2018 (2018-03-02) 0.59[83]
76
12 "Chapter Seventy-Six" Melanie Mayron Leah Longoria March 9, 2018 (2018-03-09) 0.58[84]
77
13 "Chapter Seventy-Seven" Gina Lamar Deirdre Shaw & Chantelle M. Wells March 16, 2018 (2018-03-16) 0.59[85]
78
14 "Chapter Seventy-Eight" Justin Baldoni Valentina Garza & Micah Schraft March 23, 2018 (2018-03-23) 0.65[86]
79
15 "Chapter Seventy-Nine" Gina Lamar Paul Sciarrotta April 6, 2018 (2018-04-06) 0.53[87]
80
16 "Chapter Eighty" Micah Schraft Micah Schraft April 13, 2018 (2018-04-13) 0.57[88]
81
17 "Chapter Eighty-One"[89] Gina Lamar Jennie Snyder Urman & Paul Sciarrotta April 20, 2018 (2018-04-20) TBD
Ratings[edit]
Jane the Virgin : U.S. viewers per episode (millions)
Source: Nielsen Media Research[90][91][92][93]
References[edit]
Jump up ^ Ausiello, Michael (May 8, 2014). "Fall TV Scoop: The CW Orders Four Dramas, Including Flash, iZombie and Jane the Virgin, Passes on Supernatural Spin-Off". TV Line. Retrieved May 12, 2014.
Jump up ^ "'The Flash,' 'Jane the Virgin' Get Full-Season Orders at CW". Hollywood Reporter. October 21, 2014. Retrieved October 22, 2014.
Jump up ^ Bibel, Sara (January 11, 2015). "'Arrow', 'Jane The Virgin', 'Reign', 'The 100', 'The Flash', 'Supernatural, 'The Originals' & 'The Vampire Diaries' Renewed by the CW". TV by the Numbers. Retrieved January 11, 2015.
Jump up ^ Porter, Rick (March 11, 2016). "'The Flash', 'The 100' and even 'Crazy Ex-Girlfriend' renewed: All 11 CW series picked up for 2016-17". TV by the Numbers. Retrieved March 11, 2016.
Jump up ^ ge, Linda (January 8, 2017). "The CW Renews 'The Flash,' 'Supergirl,' 'Jane the Virgin' and 4 Other Series". The Wrap. Retrieved February 6, 2017.
Jump up ^ Andreeva, Nellie (June 8, 2017). "The CW Sets Fall 2017 Premiere Dates For 'Dynasty' & 'Valor' And Returning Series Returning Series". Deadline.com. Archived from the original on June 8, 2017. Retrieved June 8, 2017.
Jump up ^ Schwartz, Ryan (August 26, 2017). "Jane the Virgin Episode Count Revealed (Hint: It's the Shortest Season Yet)". TVLine. Retrieved September 4, 2017.
Jump up ^ "Jane the Virgin on CW". The Futon Critic. Retrieved January 31, 2018.
Jump up ^ Bibel, Sara (October 14, 2014). "Monday Final Ratings: 'The Voice' & 'Dancing With the Stars' Adjusted Up; 'The Big Bang Theory' & 'Castle' Adjusted Down". TV by the Numbers. Archived from the original on October 15, 2014. Retrieved October 14, 2014.
Jump up ^ Kondolojy, Amanda (October 21, 2014). "Monday Final Ratings: 'The Big Bang Theory', 'The Voice' & 'Gotham' Adjusted Up; 'Jane the Virgin', 'The Originals', 'The Millers' & 'Castle' Adjusted Down". TV by the Numbers. Archived from the original on October 23, 2014. Retrieved October 21, 2014.
Jump up ^ Bibel, Sara (October 28, 2014). "Monday Final Ratings: 'The Voice' & 'Scorpion' Adjusted Up; 'Dancing With the Stars', 'Castle', 'The Millers' & 'The Blacklist' Adjusted Down". TV by the Numbers. Archived from the original on October 30, 2014. Retrieved October 28, 2014.
Jump up ^ Kondolojy, Amanda (November 4, 2014). "Monday Final Ratings: 'The Voice' Adjusted Up; 'Jane the Virgin', 'Dancing With the Stars', 'The Originals', 'Countdown to the CMAs' Adjusted Down". TV by the Numbers. Retrieved November 4, 2014.
Jump up ^ Bibel, Sara (November 11, 2014). "Monday Final Ratings: 'Dancing With The Stars' & 'Castle' Adjusted Down". TV by the Numbers. Retrieved November 11, 2014.
Jump up ^ Kondolojy, Amanda (November 18, 2014). "Monday Final Ratings: 'The Voice' & 'Sleepy Hollow' Adjusted Up; 'Dancing With the Stars' & 'Castle' Adjusted Down". TV by the Numbers. Retrieved November 18, 2014.
Jump up ^ Bibel, Sara (November 25, 2014). "Monday Final Ratings: 'Dancing With The Stars' Adjusted Up; 'The Voice,, 'Castle', '2 Broke Girls', 'Scorpion' & 'State of Affairs' Adjusted Down". TV by the Numbers. Retrieved November 25, 2014.
Jump up ^ Bibel, Sara (December 9, 2014). "Monday Final Ratings: 'Mike & Molly' Adjusted Up; 'The Great Christmas Light Fight' & 'Castle' Adjusted Down". TV by the Numbers. Retrieved December 9, 2014.
Jump up ^ Kondolojy, Amanda (December 16, 2014). "Monday Final Ratings: 'Jane the Virgin', 'The Voice', 'The Great Christmas Light Fight' & 'State of Affairs' Adjusted Down". TV by the Numbers. Retrieved December 16, 2014.
Jump up ^ Bibel, Sara (January 21, 2015). "Monday Final Ratings: 'Scorpion', 'Castle' & 'The Celebrity Apprentice' Adjusted Up". TV by the Numbers. Retrieved January 21, 2015.
Jump up ^ Kondolojy, Amanda (January 27, 2015). "Monday Final Ratings: 'The Bachelor' and 'Sleepy Hollow' Adjusted Up; No Adjustment for 'Jane the Virgin'". TV by the Numbers. Retrieved January 27, 2015.
Jump up ^ Bibel, Sara (February 3, 2015). "Monday Final Ratings: No Adjustments to 'Gotham', 'Sleepy Hollow', 'The Originals' or 'Jane The Virgin'". TV by the Numbers. Retrieved February 3, 2015.
Jump up ^ Kondolojy, Amanda (February 10, 2015). "Monday Final Ratings: 'NCIS: LA' & 'Scorpion' Adjusted Up, No Adjustment for 'Jane the Virgin' or 'Gotham'". TV by the Numbers. Retrieved February 10, 2015.
Jump up ^ Bibel, Sara (February 18, 2015). "Monday Final Ratings: 'The Bachelor' & 'The Celebrity Apprentice' Adjusted Up". TV by the Numbers. Retrieved February 19, 2015.
Jump up ^ Kondolojy, Amanda (March 10, 2015). "Monday Final Ratings: 'The Voice', 'The Bachelor', '2 Broke Girls', 'Mike & Molly' & 'NCIS: LA' Adjusted Up; 'The Night Shift' Adjusted Down". TV by the Numbers. Retrieved March 10, 2015.
Jump up ^ Bibel, Sara (March 17, 2015). "Monday Final Ratings: 'The Voice', 'Dancing With The Stars', 'Mike & Molly' & 'Jane The Virgin' Adjusted Up; 'The Night Shift' & 'The Originals' Adjusted Down". TV by the Numbers. Retrieved March 17, 2015.
Jump up ^ Kondolojy, Amanda (April 7, 2014). "Monday Final Ratings: No Adjustment for 'Jane the Virgin' or 'The Night Shift' + Final NCAA Basketball Ratings". TV by the Numbers. Retrieved April 14, 2015.
Jump up ^ Bibel, Sara (April 14, 2015). "Monday Final Ratings: 'The Voice' & 'Dancing With the Stars' Adjusted Up; 'The Originals', 'Jane The Virgin' & 'The Night Shift' Adjusted Down". TV by the Numbers. Retrieved April 14, 2015.
Jump up ^ Kondolojy, Amanda (April 21, 2015). "Monday Final Ratings: 'Scorpion', '2 Broke Girls', 'Mike & Molly', Gotham', 'The Voice' & 'Dancing With the Stars' Adjusted Up". TV by the Numbers. Retrieved April 21, 2015.
Jump up ^ Bibel, Sara (April 28, 2015). "Monday Final Ratings: '2 Broke Girls', 'Mike & Molly', 'Stalker' & 'The Night Shift' Adjusted Down". TV by the Numbers. Retrieved April 28, 2015.
Jump up ^ Kondolojy, Amanda (May 5, 2015). "Monday Final Ratings: '2 Broke Girls' & 'Mike and Molly' Adjusted Up; No Adjustment for 'Jane the Virgin'". TV by the Numbers. Retrieved May 5, 2015.
Jump up ^ Bibel, Sara (May 12, 2015). "Monday Final Ratings: 'Dancing With the Stars' & 'The Following' Adjusted Up". TV by the Numbers. Retrieved May 12, 2015.
Jump up ^ Porter, Rick (October 13, 2015). "Monday final ratings: 'The Voice' and 'Big Bang Theory' adjusted up, 'Castle,' 'Life in Pieces' and 'Scorpion' adjusted down". TV by the Numbers. Retrieved October 14, 2015.
Jump up ^ Porter, Rick (October 20, 2015). "Monday final ratings: 'Crazy Ex-Girlfriend' and 'Jane the Virgin' adjusted down, 'Big Bang' adjusted up". TV by the Numbers. Retrieved October 20, 2015.
Jump up ^ Porter, Rick (October 27, 2015). "Monday final ratings: 'Supergirl' and 'Blindspot' adjust down, 'Big Bang Theory' adjusts up". TV by the Numbers. Retrieved October 27, 2015.
Jump up ^ Porter, Rick (November 3, 2015). "Monday final ratings: 'The Voice' and 'NCIS: LA' adjust up, 'Supergirl' holds". TV by the Numbers. Retrieved November 3, 2015.
Jump up ^ Porter, Rick (November 10, 2015). "Monday Final Ratings: 'NCIS: LA' Adjusts Up; Everything Else Holds". TV by the Numbers. Retrieved November 10, 2015.
Jump up ^ Porter, Rick (November 17, 2015). "Monday final ratings: 'Jane the Virgin' adjusts down but still hits season high, 'Scorpion' adjusts up". TV by the Numbers. Retrieved November 17, 2015.
Jump up ^ Porter, Rick (November 24, 2015). "Monday final ratings: 'The Voice' adjusts up, 'Castle' adjusts down to season average". TV by the Numbers. Retrieved November 24, 2015.
Jump up ^ Porter, Rick (December 15, 2015). "Monday final ratings: 'Scorpion' and 'Jane the Virgin' adjust down". TV by the Numbers. Retrieved December 15, 2015.
Jump up ^ Porter, Rick (January 26, 2016). "Monday final ratings: 'Scorpion' and 'Superstore' adjust up". TV by the Numbers. Retrieved January 26, 2016.
Jump up ^ Porter, Rick (February 2, 2016). "Monday final ratings: 'X-Files,' 'Lucifer' and 'The Bachelor' adjust up". TV by the Numbers. Retrieved February 2, 2016.
Jump up ^ Porter, Rick (February 9, 2016). "Monday final ratings: 'The Bachelor' and 'Scorpion' adjust up". TV by the Numbers. Retrieved February 9, 2016.
Jump up ^ Porter, Rick (February 23, 2016). "Monday final ratings: 'Bachelor' adjusts up, 'Crazy Ex-Girlfriend' adjusts down". TV by the Numbers. Retrieved February 23, 2016.
Jump up ^ Porter, Rick (March 1, 2016). "Monday Final Ratings: 'Blindspot,' 'Gotham' and all others hold". TVbytheNumbers. Retrieved March 1, 2016.
Jump up ^ Porter, Rick (March 8, 2016). "Monday Final Ratings: 'Jane the Virgin' adjusts up, 'Blindspot' adjusts down". TV by the Numbers. Retrieved March 8, 2016.
Jump up ^ Porter, Rick (March 22, 2016). "Monday final ratings: 'The Voice' adjusts up, 'Blindspot' adjusts down". TVbytheNumbers. Retrieved March 22, 2016.
Jump up ^ Porter, Rick. "Monday final ratings: 'Supergirl,' 'Blindspot' and everything else hold". TV By The Numbers. Retrieved March 29, 2016.
Jump up ^ Porter, Rick (April 12, 2016). "Monday final ratings: 'The Voice' adjusts up, 'Crazy Ex-Girlfriend' and 'Jane the Virgin' adjust down". TV by the Numbers. Retrieved April 12, 2016.
Jump up ^ Porter, Rick (April 19, 2016). "Monday final ratings: 'Supergirl' finale adjusts up, 'NCIS: LA' adjusts down". TV by the Numbers. Retrieved April 19, 2016.
Jump up ^ Porter, Rick (April 26, 2016). "Monday final ratings: 'The Voice' adjusts down". TV by the Numbers. Retrieved April 26, 2016.
Jump up ^ Porter, Rick (May 3, 2016). "Monday final ratings: 'NCIS: LA' finale and all others hold". TV by the Numbers. Retrieved May 3, 2016.
Jump up ^ Porter, Rick (May 10, 2016). "Monday final ratings: 'Blindspot' and 'Reign' adjust down". TVbytheNumbers. Retrieved May 10, 2016.
Jump up ^ Porter, Rick (May 17, 2016). "Monday final ratings: 'Mike & Molly' finale and 'The Voice' adjust up". TV by the Numbers. Retrieved May 17, 2016.
Jump up ^ Porter, Rick (October 18, 2016). "'Gotham,' 'The Voice,' 'Big Bang,' 'DWTS' adjust up, 'Conviction' and '2 Broke Girls' adjust down: Monday final ratings". TV by the Numbers. Retrieved October 18, 2016.
Jump up ^ Porter, Rick (October 25, 2016). "'Kevin Can Wait' adjusts up, 'Timeless,' 'Supergirl,' and 'Jane the Virgin' adjust down: Monday final ratings". TV by the Numbers. Retrieved October 25, 2016.
Jump up ^ Porter, Rick (November 1, 2016). "'Gotham' adjusts up, CBS shows all adjust down: Monday final ratings". TV by the Numbers. Retrieved November 1, 2016.
Jump up ^ Porter, Rick (November 8, 2016). "'Jane the Virgin,' 'Odd Couple' and 'Conviction' adjust down: Monday final ratings". TV by the Numbers. Retrieved November 8, 2016.
Jump up ^ Porter, Rick (November 15, 2016). "'2 Broke Girls' adjusts up, 'Supergirl' and 'Jane the Virgin' adjust down: Monday final ratings". TV by the Numbers. Retrieved November 15, 2016.
Jump up ^ Porter, Rick (November 22, 2016). "'Supergirl,' 'Jane the Virgin,' 'Odd Couple,' 'Conviction' adjust down: Monday final ratings". TV by the Numbers. Retrieved November 22, 2016.
Jump up ^ Porter, Rick (November 30, 2016). "'Voice' adjusts up, 'Gotham,' 'Lucifer,' 'Jane the Virgin' and ABC adjust down: Monday final ratings". TV by the Numbers. Retrieved November 30, 2016.
Jump up ^ Porter, Rick (January 24, 2017). "'Celebrity Apprentice' adjusts up, 'Quantico' adjusts down: Monday final ratings". TV by the Numbers. Retrieved January 24, 2017.
Jump up ^ Porter, Rick (January 31, 2017). "'Quantico' adjusts down: Monday final ratings". TV by the Numbers. Retrieved January 31, 2017.
Jump up ^ Porter, Rick (February 7, 2017). "'The Bachelor' and 'Superior Donuts' adjust up: Monday final ratings". TV by the Numbers. Retrieved February 7, 2017.
Jump up ^ Porter, Rick (February 14, 2017). "'The Bachelor' adjusts up, 'Quantico' adjusts down: Monday final ratings". TV by the Numbers. Retrieved February 14, 2017.
Jump up ^ Welch, Alex (February 22, 2017). "'Quantico' adjusts down: Monday final ratings". TV by the Numbers. Retrieved February 22, 2017.
Jump up ^ Porter, Rick (February 28, 2017). "'Scorpion' adjusted up: Monday final ratings". TV by the Numbers. Retrieved February 28, 2017.
Jump up ^ Porter, Rick (March 21, 2017). "'Dancing With the Stars' adjusts up, 'Taken' and 'Quantico' adjust down: Monday final ratings". TV by the Numbers. Retrieved March 21, 2017.
Jump up ^ Porter, Rick (March 28, 2017). "'Voice,' 'Great Indoors' adjust up; 'Taken,' 'Quantico,' 'Jane the Virgin' down: Monday final ratings". TV by the Numbers. Retrieved March 28, 2017.
Jump up ^ Porter, Rick (April 25, 2017). "'Gotham' adjusts up, 'Quantico' adjusts down: Monday final ratings". TV by the Numbers. Retrieved April 25, 2017.
Jump up ^ Porter, Rick (May 2, 2017). "'The Voice,' 'Scorpion,' 'Man with a Plan,' 'Superior Donuts' all adjust up: Monday final ratings". TV by the Numbers. Retrieved May 2, 2017.
Jump up ^ Porter, Rick (May 9, 2017). "'Gotham,' 'Man with a Plan,' 'Jane the Virgin' adjust up, 'Quantico' adjusts down: Monday final ratings". TV by the Numbers. Retrieved May 9, 2017.
Jump up ^ Porter, Rick (May 16, 2017). "'Dancing with the Stars,' 'Man with a Plan' finale adjust up: Monday final ratings". TV by the Numbers. Retrieved May 16, 2017.
Jump up ^ Porter, Rick (May 23, 2017). "'The Voice' adjusts up, 'Jane the Virgin' adjusts down: Monday final ratings". TV by the Numbers. Retrieved May 23, 2017.
Jump up ^ Welch, Alex (October 16, 2017). "'Hell's Kitchen,' 'MacGyver,' 'Once Upon a Time,' & more remain unchanged: Friday final ratings". TV by the Numbers. Retrieved October 16, 2017.
Jump up ^ Porter, Rick (October 23, 2017). "'Jane the Virgin,' 'Hawaii Five-0,' all others unchanged: Friday final ratings". TV by the Numbers. Retrieved October 23, 2017.
Jump up ^ Porter, Rick (October 30, 2017). "'MacGyver,' 'Jane the Virgin' and World Series adjust up: Friday final ratings". TV by the Numbers. Retrieved October 30, 2017.
Jump up ^ Porter, Rick (November 6, 2017). "'Hawaii Five-0,' 'Once Upon a Time' and others unchanged: Friday final ratings". TV by the Numbers. Retrieved November 6, 2017.
Jump up ^ Porter, Rick (November 13, 2017). "'Hawaii Five-0,' 'Hell's Kitchen,' everything else unchanged: Friday final ratings". TV by the Numbers. Retrieved November 13, 2017.
Jump up ^ Porter, Rick (November 20, 2017). "'Hell's Kitchen,' 'MacGyver' and all others unchanged: Friday final ratings". TV by the Numbers. Retrieved November 20, 2017.
Jump up ^ Porter, Rick (December 11, 2017). "'Blue Bloods' adjusts down: Friday final ratings". TV by the Numbers. Retrieved December 11, 2017.
Jump up ^ Porter, Rick (January 29, 2018). "'Blindspot,' 'Agents of SHIELD,' all others hold: Friday final ratings". TV by the Numbers. Retrieved January 29, 2018.
Jump up ^ Porter, Rick (February 5, 2018). "'Hell's Kitchen' finale, 'Jane the Virgin,' all others hold: Friday final ratings". TV by the Numbers. Retrieved February 5, 2018.
Jump up ^ Porter, Rick (February 12, 2018). "Olympics opening ceremony adjusts up: Friday final ratings". TV by the Numbers. Retrieved February 12, 2018.
Jump up ^ Porter, Rick (March 5, 2018). "'Blue Bloods,' 'Blindspot,' all other unchanged: Friday final ratings". TV by the Numbers. Retrieved March 5, 2018.
Jump up ^ Porter, Rick (March 12, 2018). "Blue Bloods,' 'Taken,' 'Confronting Putin' adjust down: Friday final ratings". TV by the Numbers. Retrieved March 12, 2018.
Jump up ^ Porter, Rick (March 19, 2018). "NCAA Tournament adjusts down: Friday final ratings". TV by the Numbers. Retrieved March 19, 2018.
Jump up ^ Porter, Rick (March 26, 2018). "NCAA Tournament and 'Dynasty' adjust down: Friday final ratings". TV by the Numbers. Retrieved March 26, 2018.
Jump up ^ Porter, Rick (April 9, 2018). "'Agents of SHIELD' adjusts up: Friday final ratings". TV by the Numbers. Retrieved April 9, 2018.
Jump up ^ Porter, Rick (April 16, 2018). "'Agents of SHIELD' adjusts up, 'Taken' adjusts down: Friday final ratings". TV by the Numbers. Retrieved April 16, 2018.
Jump up ^ "(#417) "Chapter Eighty-One"". The Futon Critic. Retrieved March 30, 2018.
Jump up ^ "Jane the Virgin: Season One Ratings". TV Series Finale. Retrieved February 20, 2018.
Jump up ^ "Jane the Virgin: Season Two Ratings". TV Series Finale. Retrieved February 20, 2018.
Jump up ^ "Jane the Virgin: Season Three Ratings". TV Series Finale. Retrieved February 20, 2018.
Jump up ^ "Jane the Virgin: Season Four Ratings". TV Series Finale. Retrieved February 20, 2018.
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Saddle seat
From Wikipedia, the free encyclopedia
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For the airliner seat called the saddle seat, see SkyRider (seat).
A saddle seat rider, in formal evening attire, showing basic equitation form.
Saddle seat[a] is a style of horseback riding within the category of English riding that is designed to show off the high action of certain horse breeds. The style developed into its modern form in the United States, and is also seen in Canada and South Africa. To a much lesser extent, it is ridden with American action horse breeds in Europe and Australia.
The goal of the saddle seat riding style is to show off the horse's extravagant gaits, particularly the trot. In the United States, there sometimes is confusion between saddle seat and hunt seat disciplines among individuals who are neither familiar with different styles of English saddle nor the substantial differences in rider position and attire between the disciplines.
Contents
[hide]
1 History
2 Equitation
3 Type of horse required
4 Show Classes
5 Tack
6 Shoeing and action
7 Clothing
8 Show grooming of the Saddle Seat Horse
8.1 The Mane and Forelock
8.2 The Tail
8.3 Tail-Setting
8.4 The Legs and Head
9 Competition
10 See also
11 Notes
12 References
13 External links
History[edit]
Saddle seat riding began as a distinct style within the broader group of English riding disciplines developed in the United States from two sources. The first was the Plantation tradition of the American South, where smooth-moving, high-stepping horses were used by plantation owners and overseers to travel across the fields. The horses had to be smooth riding and comfortable enough for hours of riding while overseeing the plantation, but the owners also required an impressive, high-stepping horse for riding in town.[1] A second influence was European: a flatter English show saddle was developed from the tradition of riders who would often show off their flashiest, highest-stepping horses by riding them in city parks on Sundays. Hence, the term "park horse" is still used today to describe competitions where the action of the horse is of paramount importance.
Equitation[edit]
Saddle seat is a style of English riding that differs considerably from other styles such as hunt seat and dressage. To the casual observer the rider sits well back in the saddle, carrying his or her hands higher than in other disciplines. Riders in equitation classes are penalized for leaning forward to any significant degree. However, like any other riding discipline, the position of the rider reflects the desired position of the horse.[2] The rider must make the riding look effortless, and stay still and well-formed on the horse, sitting upright, with shoulders back and posting that is graceful and quiet. In saddle seat, high-stepping gaits are required of the horses shown, and the rider's position, behind the center of balance of the animal, allows the riding aids to be used to encourage front leg action in the horse.[3]
Type of horse required[edit]
Horses that naturally have an upright neck with high head carriage, as well as animated gaits and high action are best at saddle seat. They should be very energetic but still remain responsive to the rider's aids. Several breeds do well in this discipline, with the most well-known being the American Saddlebred. Other breeds commonly exhibited in saddle seat style are the National Show Horse, Tennessee Walking Horses, Racking Horses, Spotted Saddle Horses, Morgans, and Arabians. In addition, Hackneys, Dutch Harness Horses, Paso Finos, Missouri Foxtrotters, and Rocky Mountain Horses are sometimes shown in this discipline. Less often, Friesians and Andalusians are exhibited.
Show Classes[edit]
Lineup of a Saddle Seat class for American Saddlebreds, daytime "informal" attire
For information on horse gaits required by different classes, see: Horse gait
In the United States, the United States Equestrian Federation (USEF) creates and maintains the rules for most breeds shown in saddle seat competition.
Classes under saddle may include:
Three-Gaited: Open to American Saddlebreds, shown at the walk, trot, and canter.[4]
Five-gaited: Open to American Saddlebreds, shown at the walk, trot, and canter, as well as the four -beat ambling gaits known as the rack (a fast, showy gait), and slow gait (four-beat gait with great suspension).[5]
Plantation Walker: Open to Tennessee Walking Horses, shown at the flat walk, running walk, and canter.
Park: A class designation used in Saddlebred, Arabian, and Morgan competition, where horses are shown at a walk, trot, and canter, judged on their brilliant, high action.
Pleasure: An English pleasure class designation used in almost every breed, designated classes where good manners and smooth performance are more important than brilliant action. Most pleasure classes require horses to show at a walk, trot and canter, often calling for extended gaits.
Classic or Country Pleasure: This type of pleasure class that puts even greater emphasis on manners in the horse. The horse still has a high-set head position and somewhat animated gait, but animation is of less importance. Horses show at the walk, trot, and canter, often with extension, and are required to back.
Equitation: judges the rider's form and use of aids.
See also: Equitation and English pleasure
Class terminology varies between breeds. For example, Saddlebreds may be shown in "English Show Pleasure" or "English Country Pleasure". Morgans have Park, English Pleasure, and "Classic" Pleasure classes. Arabians have Park, English Pleasure, and "Country" Pleasure classes. Tennessee Walkers exhibit in three categories: Flat shod, Plantation Pleasure, and Performance. Each class may ask for different variations of the gaits, extended gaits, and sometimes for any specialized gaits.
Any of the breeds used for saddle seat competition may also be shown in driving classes in harness, usually called "fine harness" or "pleasure driving", usually requiring a walk and two speeds of trot. Rules for horse grooming and handler attire parallel saddle seat rules.
In any competition, classes may be broken down by any of the following criteria:
Age Divisions: may be divided by age of horse or rider. Horses may be divided into junior horses, usually age 4 and under, and senior horses, usually age 5 and over. Under the rules of the USEF, riders can be broken down into age groups as follows: 10 and under, 11-13, 14-17, 18-39 and 40 and over.
Experience: divided by the experience of the horse or rider. The most common categories are: Maiden - never having won before in the division, Novice - never having won over 3 classes in the division, Limit - never having won over 6 classes in the division.
Tack[edit]
A "saddle seat" style saddle, also sometimes called a "Lane Fox" or "cutback."
See also: English saddle and Double bridle
Saddle seat riders use a special saddle not seen in other English riding disciplines. These saddles have a cut-back pommel, which is set back several inches (usually four) to allow for the higher withers and neck set of the horse. The saddle has little padding, a very flat seat, and is placed further back on the horse to allow the extravagant front end movement of the horse. This saddle also deliberately places the rider slightly "behind the motion," which makes it easier to influence both the headset of the horse and the animal's gaits.
Due to the cutback pommel, these saddles are usually a few inches longer than other English saddles. Even a properly balanced saddle seat saddle is quite flat and places the rider in a position that feels less secure. However, good riders that ride a balanced saddle seat with long stirrups in a "classical" position (legs balanced under the rider, not sitting too far back on the horse's loins), are able to properly ride their horses, encouraging the animals to step under themselves and collect, raising their backs, elevating their necks, and working off their hindquarters. Poorly made saddles of this style can be unbalanced and an improper seat leads to a hollow-backed horse who does not have properly engaged hindquarters, with a superficially correct front-end position that is achieved by improperly forcing the horse's head and neck up and in, usually by means of leveraged training aids.
The saddle seat horse traditionally wears a double bridle (full bridle), with both a curb bit and a bradoon. A pelham bit is also legal for pleasure classes, though not common. The double bridle is preferred (and mandatory in most equitation classes) because it allows more fine-tuning of the horse's head and neck position, though a pelham can be used in a few specialized classes such as Saddlebred Pleasure Equitation. A single curb bit is used for gaited horses such as the Tennessee Walker and Missouri Fox Trotter. The shanks of the curb bit are often longer than those found on the Weymouth style double bridle used in dressage, often 7 inches in overall length (some breeds have length limits in the rules). The browband is commonly brightly colored leather or vinyl, red being the most common color. The cavesson is sometimes plain leather, and sometimes colored to match the browband, depending on breed and fashion trends in tack.
Junior classes, limited to horses under four or five years old, may allow horses to wear a snaffle bit. Running martingales are also sometimes used in training but not in the show ring.
Shoeing and action[edit]
Saddlebreds in 5-gaited saddle seat performance competition
See also: Horseshoe
High action is prized in the saddle seat horse. Therefore, many horses used in saddle seat are allowed to grow longer feet than in other disciplines and are shod with pads and special shoes. While ordinary horseshoes are usually held on with horseshoe nails clinched on the outside wall of the hoof, shoes on high-action breeds are often held in place with a metal band, as well as with clinches, because of their weight. Longer toes and heavier shoes encourage a saddle seat horse to lift its feet and knees higher, or reach them out farther, with more "snap" and flash. Toe length and shoe weight therefore is an often controversial issue among saddle seat competitors. Toe length and, at times, shoe weight, are often measured at sanctioned shows. Pad height is also governed by breed: some breeds and divisions either prohibit pads altogether or only allow minimal pads. Other breeds, such as the American Saddlebred allow a 1-inch wedge pad, while at the extreme, 4-inch "stacks" are seen on certain Tennessee Walking Horses.
In Country Pleasure competition for Saddlebreds and flat shod divisions for Tennessee Walkers, built-up shoes and pads are not allowed, all action must be produced from natural ability. In saddle seat breed competition for Morgans and Arabians, pads and slightly weighted shoes are allowed, but with strictly enforced limits on overall toe length and shoe weight.
The exact combination of elevation (knee height) and extension (how far out in front the horse reaches with its feet) is determined to some extent by breed and fashion. However, for the health of the horse, specialized shoeing should not change the hoof angle to any significant degree, as more than a 3 degree alteration may lead to lameness.
A big lick Tennessee Walking Horse.
The balance of the shoe can alter action: the three-gaited American Saddlebred and the Hackney Horse have the highest knee action, while the Tennessee Walking Horse is asked to perform the "big lick," exaggerated action of the front legs, especially in the running walk, where the horse both lifts its feet very high and reaches them out in front as far as possible.
Many saddle seat horses also wear certain devices to increase their action while in training. Use of these devices is controversial, though when used correctly, they are said to help develop necessary muscles and should not be used in a manner that causes the horse physical pain. Devices used include stretchies (elastic rubber tubing attached to the front legs by fleece-covered leather half-hobbles, used to provide resistance training), weighted rattles (large beads) or chains placed around the fetlock, and "shackles" or a "running-W", devices composed of pulleys and ropes that help increase the horses' range of motion. Depending on the breed, some devices may be used in the warm-up area but not the show ring, while other breeds ban them from the show grounds entirely.
The most controversial practice used on some saddle seat horses, primarily the Tennessee Walking Horse, is soring: the placing of a caustic ointment on the coronary band and pastern of the horse, to cause pain so that the horse picks up its feet as quickly as they touch the ground. Because of the pain it causes to animals, soring has been banned by federal law, enforced by the United States Department of Agriculture as part of the Horse Protection Act of 1970.[6] However, enforcement is spotty amongst show-sanctioning organizations, and funds are not sufficient for the USDA to inspect all horse shows. Therefore, even though the practice is widely condemned and illegal, with possible criminal penalties possible, it is still a problem for the industry.[7]
Clothing[edit]
Correct saddle seat attire differs from that of western or hunt seat disciplines. For both men and women, it is closely modeled on men's business suits and/or the tuxedo, with variations in styling designed to improve the rider's appearance on horseback. Fashion in saddle seat disciplines changes with changes in menswear fashions, reflected in collar styles, shirt and tie designs, and sometimes in length of coat and color of linings.
According to the United States Equestrian Federation, conservative solid colors must be worn, such as black, navy blue, brown, dark green or gray. Pinstriped fabrics and other fabric textures that appear solid at a distance are also acceptable. However, in some classes, it is also legal to wear a "day coat," which is a coat that is of a contrasting color from the rider's pants.
In all classes, riders wear Kentucky jodhpurs (jods), which are close-fitting pants with knee patches and bell-bottoms that go over the boots, usually with a strap that goes under the boot to keep them from riding up. A long, fitted coat is also required. For men, the coat length usually stops just above the knee. For women, depending on height, the coat may be below the knee, though exact length varies from year to year as show ring fashions change. The outfit is complete with the addition of jodhpur boots that come just over the ankle (similar to "paddock boots" sometimes worn in other disciplines), a hat (usually a derby for women and a fedora for men), a vest, tie, and dark gloves. In some breeds, riders have coat linings made in a contrasting color to add extra flash, though colored linings go in and out of style on a regular basis.
In equitation classes, where the rider is judged, the coat and jods must match. In performance classes, where the horse is judged, a matching equitation-style suit is appropriate, or riders, particularly women, may wear a day coat. Riders usually carry a longish whip, usually black, that is similar to that used by dressage riders. English-style spurs are optional. Technically a white-handled whip is only carried after 6:00 pm, but that particular tradition is widely ignored.
After 6:00 p.m., some classes allow a rider to wear formal attire, which is based on formal menswear fashion and usually consists of a black or dark navy blue long coat with matching satin lapels, top hat, vest or cummerbund, bow tie, white gloves and matching jodhpur pants with matching satin strip on outside of pant leg. No formal attire can be worn in pleasure or pleasure equitation classes, (except for Morgan horse) competition, but it is commonly seen in evening equitation championships, and in "park" style riding and Driving classes for American Saddlebreds and Arabians. In a few breed disciplines, though never in equitation, wearing flashy, brocaded coats in a formal class in lieu of a matching suit is occasionally fashionable, usually depending on parallel styles in the world of men's fashions.
Under United States Equestrian Federation rules, a rider may opt to wear protective headgear in any class without penalty. In small, unrated, "academy" or "schooling" shows, classes for people new to saddle seat may relax the dress requirements and allow exhibitors to show without a costly show jacket, and simply wear Kentucky jodhpurs, boots, a long sleeve button down shirt, sometimes a vest, and an equestrian helmet instead of a derby.
Show grooming of the Saddle Seat Horse[edit]
See also: Horse grooming
An Arabian horse turned out for a saddle seat pleasure class, wearing a double bridle with colorful browband and cavesson, moderately long bridle path, and long mane.
Show ring grooming and "turnout" of the saddle seat horse is intended to emphasize elegance and grace. There are noticeable variations in grooming style between breeds, and sometimes within different disciplines of the same breed. Therefore, it is often quite easy even for newcomers to tell which breed is being shown by the obeserving the way the horses are groomed.
The Mane and Forelock[edit]
Horses shown saddle seat generally are left with a very long, flowing mane that is not trimmed or pulled. Tennessee Walking Horses, five-gaited American Saddlebreds, three-gaited pleasure, and park Saddlebreds, and other gaited breeds that adhere closely to their traditions, are usually shown with a full mane and forelock, though the forelock and the first lock of the mane may be braided with satin ribbon, which is color-coordinated with the browband of the bridle and the rider's outfit. (In recent years, the trend amongst Saddlebred exhibitors is to shave off the forelock.) On the other hand, Arabian and Morgan horses show with a full mane and tail with no additions; exhibitors are specifically prohibited from braiding or adding ribbons to their horses.
American Saddlebreds shown specifically in three-gaited competition are shown with a roached (entirely shaved off) mane and forelock, to accentuate the lines of the neck and head.
For all other breeds, only part of the mane is trimmed. This area, called the bridle path (the area of the mane just behind the horse's ears, where the bridle lies across the top of the horse's head), is often trimmed farther down the neck than in other disciplines in order to show off the clean throatlatch, length, and elegance of the horse's neck. While most show horses in the United States have a short bridle path (a bridle path less than six inches long or equal in length to the height of the horse's ear is a common rule of thumb), saddle seat horses often have a bridle path 8 to 12 inches long, depending on current fashion. There are variations in bridle path lengths: Arabian horse exhibitors are particularly prone to shaving extremely long bridle paths, while exhibitors of American Saddlebreds less so, and Morgan horse exhibitors typically fall in the middle.
The Tail[edit]
Main article: Tail (horse)
An American Saddlebred with an artificially set tail
The tail is left long, and often the bottom of it is kept wrapped up at the stable so that it grows long enough to skim or even drag on the ground as the horse moves, only taken down for show. Formerly, the upper portion of a three-gaited horse's tail was shaved to balance the look of the roached mane and remains legal for show, but in recent decades the trend has been to keep a normal tail. Classes for three-gaited horses with full manes and tails are also offered.[8]
Tail-Setting[edit]
The American Saddlebred and Tennessee Walking Horse are shown with an artificially positioned tail in the "high action" classes, such as three-gaited and five-gaited under saddle classes, and Fine harness competition. Set tails are not allowed in Saddlebred or Tennessee Walking horse pleasure classes or in most flat shod classes, though a horse which has previously been shown with a set tail may be allowed in some classes if its tail has been taken down and allowed to return to its natural position.[9] Other saddle seat breeds, such as the Arabian, Racking Horse and Morgan, prohibit tail-setting altogether.
The upright set tail shortens the length of the rest of the tail by several inches. Therefore, horses with set tails, particularly if thin or slow-growing, may have a false tail added. False tails are not allowed in Morgan or Arabian competition. When used, false tails attempt to not appear obviously fake; they are matched to the horse's natural hair color and flow into the natural tail.
Tail setting is a controversial subject. This is primarily because a common way of creating the set look is a tail "nicking" operation, in which the retractor muscles on the underside of the dock are partially cut (the tail is not broken, as some people believe). The tail is then placed into a tail set so that when the muscles and ligaments heal they are longer than they were initially. A tail set is a harness-like device with straps that loop from the chest of the horse to the back of the tail to support a spoon crupper that actually holds the tail itself. A tail set holds the tail up and stretches the muscles and ligaments of the tail, preventing it from gradually sinking down. Once healed, the tail will still retain most of its movement and function, such as swatting flies, but can no longer be clamped down hard against the buttocks. In the show ring, the tailsetting harness is removed, but the tail is often tied or put into a tail brace to hold it in place.[10]
It is possible to achieve the same look without the horse having to go through the nicking procedure. One alternative method of tail-setting uses a humane brace to stretch the tail muscles.
Set tails require much effort on the part of the groom. If the set tail is not taken care of appropriately, even a nicked tail will drop down to a more normal position in a few months. Because it could be dangerous to turn a horse out in a tail set, horses in active competition are stalled while wearing their tail sets. Many horses only wear their sets at shows and for a day or two prior.
Between shows, in the off season, and of course after retirement, a horse does not wear its tail set and even a nicked tail will drop to some degree; many returning to a completely normal appearance and even regaining their ability to clamp down. If the horse is shown again at a later time, many horses with nicked tails need only wear the tail set for a few days before a show to re-stretch the tail muscles into the correct position.
The Legs and Head[edit]
The horse's legs are trimmed, and the chestnut cut close to the skin. The only exception to this tradition of closely trimmed legs is for breeds such as the Friesian where feathers on the fetlocks is a desired, breed specific, trait.
The head is also trimmed closely, paying special attention to the jaw, muzzle, ears (including the inside), and eyes. In the saddle seat world, the entire face often is clipped so the hairs are short, especially on a horse with a winter coat, and sometimes the entire horse is bodyclipped for an even finer appearance.
Competition[edit]
The Saddle Seat World Cup is an international competition held biannually. It is the highest level of competition for saddle seat equitation riders and is competed in by the national saddle seat equitation teams from many countries around the world.[11] The Saddle Seat Invitationals, held on the off years, are competed in by the Young Rider teams from various countries. Other national saddle seat equitation competitions include the NHS Good Hands Finals and the USEF (US Equestrian Federation) Finals held at the American Royal Horse Show in November. The NHS Good Hands Finals, UPHA Challenge Cup Finals, and USEF Medal Finals are considered the jewels to the Saddle Seat Equitation Triple Crown. This is frequently called the Saddlebred Equitation Triple Crown, which is incorrect as it is open to all breeds. However, usually only Morgan and Saddlebred riders are seen competing. Individual breed associations, such as the Morgan, Arabian, National Show Horse and others, also sponsor National Championship Saddle Seat Equitation competition restricted to riders of horses of each particular breed.
See also[edit]
United States Equestrian Federation
English Saddle
Equitation
English riding
Equestrianism
Notes[edit]
Jump up ^ As with other events governed by the United States Equestrian Federation, the discipline name is two words, "saddle seat" not one, "saddleseat".
References[edit]
Jump up ^ http://www.nshregistry.org/NewsDetail.asp?ID=30
Jump up ^ https://www.usef.org/_iframes/breedsdisciplines/discipline/allsse.aspx
Jump up ^ https://books.google.com/books?id=JaTE-sORrbkC&pg=PA126&dq=Saddle+seat&hl=en&sa=X&ved=0ahUKEwj6zKj8qofLAhUS1iYKHYiGAE8Q6AEIUDAH#v=onepage&q=Saddle%20seat&f=false
Jump up ^ http://www.horsechannel.com/horse-showing/american-saddlebred-gaits-322.aspx
Jump up ^ http://www.horsechannel.com/horse-showing/american-saddlebred-gaits-322.aspx
Jump up ^ Horse Protection Act
Jump up ^ EQUUS Special Report: Why Soring Persists
Jump up ^ 2008 USEF Rulebook, Subchapter SB-5
Jump up ^ 2008 USEF Rulebook, Subchapter SB-137
Jump up ^ http://www.american-saddlebred.com/equipment/equipment.html Examples of tail set harness and brace
Jump up ^ https://www.usef.org/_iframes/breedsdisciplines/discipline/allsaddleseat/worldcup.aspx
Crabtree, Helen. Saddle Seat Equitation. DoubleDay; Revised edition, 1982. ISBN 0-385-17217-6
External links[edit]
Wikimedia Commons has media related to Saddle seat (equitation).
USEF Rulebook
"American Saddlebreds in the Show Ring"
"American Saddlebred Show Horse Equipment"
Saddle Seat World Cup
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Rosencrantz and Guildenstern
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Rosencrantz and Guildenstern
Hamlet characters
A lithograph of Rosencrantz and Guildenstern in the flute scene from Hamlet by Eugène Delacroix
Created by
William Shakespeare
Rosencrantz and Guildenstern are characters in William Shakespeare's tragedy Hamlet. They are childhood friends of Hamlet, summoned by King Claudius to distract the prince from his apparent madness and if possible to ascertain the cause of it. The characters were revived in W. S. Gilbert's satire, Rosencrantz and Guildenstern, and as the alienated heroes of Tom Stoppard's absurdist play, Rosencrantz and Guildenstern Are Dead, which was adapted into a film.
Rosencrantz ("rosary") and Gyldenstjerne/Gyllenstierna ("golden star") were names of Danish (and Norwegian, and Swedish) noble families of the 16th century; records of the Danish royal coronation of 1596 show that one tenth of the aristocrats participating bore one or the other name.[1] James Voelkel suggests that the characters were named after Frederik Rosenkrantz and Knud Gyldenstierne, cousins of Tycho Brahe who had visited England in 1592.[2]
Contents
[hide]
1 Shakespeare's Hamlet
2 Gilbert's Rosencrantz and Guildenstern
3 Stoppard's Rosencrantz and Guildenstern Are Dead
4 Other portrayals
5 References
Shakespeare's Hamlet[edit]
The majority of characters in Hamlet have classical names, in contrast to the "particularly Danish" ones of Rosencrantz and Guildenstern. The names were common in the court of Frederick II and Christian IV, and also at the University of Wittenberg, an institution where Hamlet is mentioned as having studied (he refers to them as "my two schoolfellows").[3]
In Hamlet, Rosencrantz and Guildenstern first appear in Act II, Scene 2, where they attempt to place themselves in the confidence of Prince Hamlet, their childhood friend. The smooth and courtly language they employ immediately establishes them as sycophants[1] who are really serving as spies for the corrupt King Claudius, Hamlet's uncle, who usurped the throne and constantly attempts to check his nephew. Hamlet welcomes them as "excellent good friends", but, seeing through their guise, comments that they won't "deal justly" with him about their mission.[1] Realising that he lacks allies except for Horatio, Hamlet gives the speech "What a piece of work is a man" to Rosencrantz and Guildenstern.[1]
In Act III, Hamlet drops the pretense of friendship, coldly dismissing the two in Scene 2 by his only use of the royal "we" in the play. To his mother, he comments in Scene 4 that "I will trust [them] as I will adders fang'd".
When Hamlet kills Polonius, Claudius recruits Rosencrantz and Guildenstern to escort Hamlet to England, providing them with a letter for the King of England instructing him to have Hamlet killed. (They are apparently unaware of what is in the letter, though Shakespeare never explicitly says so.) Along the journey, the distrustful Hamlet finds and rewrites the letter, instructing the executioner to kill Rosencrantz and Guildenstern instead. When their ship is attacked by pirates, Hamlet returns to Denmark, leaving Rosencrantz and Guildenstern to die; he comments in Act V, Scene 2 that "They are not near my conscience; their defeat / Does by their own insinuation grow". Ambassadors returning later report that "Rosencrantz and Guildenstern are dead."
As agents of the corruption infecting the court, the two contribute to setting up the confrontation between Hamlet and Claudius.[1] Shakespeare expects the audience to appreciate the poetic justice of their deaths:[1] while they are very likely ignorant of the deadly contents of the letter they carry to England and are, to that extent, innocent victims of Hamlet's retaliation, they are seen as having received their just deserts for their participation in Claudius's intrigues.[1] The courtiers always appear as a pair, except in editions following the First Folio text, where Guildenstern enters four lines after Rosencrantz in Act IV, Scene 3.[1]
Gilbert's Rosencrantz and Guildenstern[edit]
Main article: Rosencrantz and Guildenstern (play)
W. S. Gilbert's play (1874) is a comedy in which Rosencrantz plots with his friend Guildenstern to get rid of Hamlet, so that Rosencrantz can marry Ophelia. They discover that Claudius has written a play. The king's literary work is so embarrassingly bad that Claudius has decreed that anyone who mentions it must be executed. They obtain the manuscript and convince Hamlet to perform it. When he does, Claudius decrees that he must die, but is eventually persuaded to banish him to England. Rosencrantz and Ophelia can now be together.
Stoppard's Rosencrantz and Guildenstern Are Dead[edit]
Main article: Rosencrantz and Guildenstern Are Dead
See also: Rosencrantz & Guildenstern Are Dead (film)
As the protagonists of Tom Stoppard's play and film, they are confused by the events of Hamlet and seem unaware of their role in the larger drama. The play is primarily a comedy, but they often stumble upon deep philosophical truths through their nonsensical ramblings. In the movie, Rosencrantz invents the sandwich, and discovers gravity and volume displacement, among other things. The characters depart from their epiphanies as quickly as they come to them.
At times, one appears more enlightened than the other—but they trade this enlightenment back and forth throughout the drama. Stoppard also littered his play with jokes that refer to the common thespian tendency to swap Rosencrantz and Guildenstern in the midst of the play because the characters are basically identical. He does this by making Rosencrantz and Guildenstern unsure of who is who, as well as having the other players (Claudius, Hamlet, Gertrude) refer to them frequently by the wrong names. Because of the play's similarity to Waiting for Godot, Rosencrantz is sometimes compared to Estragon (one of the tramps who wait for Godot), and who shares his dim perception of reality, while Guildenstern parallels Vladimir, who shares his analytical perception.[original research?]
Other portrayals[edit]
The film Rosencrantz and Guildenstern Are Undead includes a fictitious play-within-the-movie, which is a comic reinterpretation of Hamlet and its aftermath.[4]
In The Simpsons episode "Tales from the Public Domain", Rosencrantz and Guildenstern are parodied by Lenny and Carl as Rosencarl and Guildenlenny.[citation needed]
In the 1983 movie Strange Brew, the characters Bob and Doug McKenzie are modeled on Rosencrantz and Guildenstern in a plot loosely based on Hamlet.[citation needed]
References[edit]
England portal
Theatre portal
Fictional characters portal
^ Jump up to: a b c d e f g h Boyce, Charles (2005). Critical Companion to William Shakespeare: A Literary Reference to His Life and Work. Facts On File, Inc. p. 154. ISBN 0-8160-5373-1.
Jump up ^ Voelkel, James (1999). Johannes Kepler and the new astronomy. Oxford University Press, USA. p. 53. ISBN 0-19-515021-X.
Jump up ^ Harold Jenkins (1982). "Longer Notes". Hamlet. Arden Shakespeare. Methuen. p. 422. ISBN 0-416-17920-7.
Jump up ^ Official film website
[show]
v
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William Shakespeare's Hamlet
Characters
Hamlet
Claudius
Gertrude
Ghost
Polonius
Laertes
Ophelia
Horatio
Rosencrantz and Guildenstern
Fortinbras
The Gravediggers
Yorick
Soliloquies
"To be, or not to be"
"Mortal coil"
"What a piece of work is a man"
"Speak the speech"
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"Thy name is"
"Primrose path"
Terminology
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Legend of Hamlet
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Richard Burton (1964)
On screen
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Films
The Rest Is Silence (1959)
The Bad Sleep Well (1960)
Ophelia (1963)
Johnny Hamlet (1968)
One Hamlet Less (1973)
The Angel of Vengeance – The Female Hamlet (1977)
Strange Brew (1983)
Hamlet Goes Business (1987)
The Lion King (1994)
Let the Devil Wear Black (1999)
The Banquet (2006)
Tardid (2009)
Karmayogi (2012)
Haider (2014)
Hamlet A.D.D. (2014)
The Lion King (2019)
Novels
Gertrude and Claudius (2000)
Dating Hamlet (2002)
Ophelia's Revenge (2003)
The Dead Fathers Club (2006)
Something Rotten (2007)
Hamlet's Father (2008)
The Story of Edgar Sawtelle (2008)
Plays
Hamletmachine (1977)
Dogg's Hamlet (1979)
Fortinbras (1991)
Musicals
Rockabye Hamlet (1973)
The Lion King (1997)
Television
Hamlet (Australian TV, 1959)
Hamlet at Elsinore (BBC, 1964)
Hamlet, Prince of Denmark (BBC, 1980)
Hamlet (BBC 2, animated, 1992)
Hamlet (BBC 2, 2009)
Parodies
15-Minute Hamlet
The Complete Works of William Shakespeare (Abridged)
Rosencrantz and Guildenstern
Io, Amleto
The Klingon Hamlet
"Lyle the Kindly Viking"
To Be or Not to Be: That is the Adventure
Songs
"My Robin is to the Greenwood Gone" (16th century)
"Pull Me Under" (1992)
"Song for Athene" (1997)
Opera/classical
Hamlet (Thomas)
Amleto (Faccio)
Hamlet (Tchaikovsky)
Tristia (Berlioz)
Die Hamletmaschine (Rihm)
Hamlet (Dean)
Story within a story
Films
To Be or Not to Be (1942)
Acting Hamlet in the Village of Mrdusa Donja (1973)
To Be or Not to Be (1983)
Rosencrantz & Guildenstern Are Dead (1990)
Renaissance Man (1994)
In the Bleak Midwinter (1995)
Hamlet 2 (2008)
Rosencrantz and Guildenstern Are Undead (2009)
Three Days (2012)
Plays
Rosencrantz and Guildenstern Are Dead (1966)
Stage Blood (1974)
I Hate Hamlet (1991)
To Be or Not to Be (2008)
Novels
Hamlet, Revenge! (1937)
Theatre of War (1994)
"The Undiscovered" (1997)
The Shakespeare Stealer (1998)
Interred with Their Bones (2007)
Television
"The Producer" (1966)
Slings & Arrows (2003)
Art
Ophelia
Affe mit Schädel
Video game
Last Action Hero (1993)
Hamlet (2010)
Intertextuality
Asterix and the Great Crossing
The Seagull
Sharpe's Havoc
Related
Hamlet and Oedipus
Hamlet Had an Uncle
Hamlet and His Problems
Hebenon
Hamlet Q1
Ostalo je ćutanje
The Chronicles of Amber
"Symphony No. 65" (Haydn)
War
Highlander II: The Quickening
The Hobart Shakespeareans
Gertrude – The Cry
Poor Murderer
Something Rotten!
"The Conscience of the King"
"Born to Be King"
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This page was last edited on 1 December 2017, at 14:06.
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