NEOCLASSICAL & 18TH CENTURY

1600 C.E. – 1799 C.E. REVOLUTION MOLIÈRE ISENGLISH BORN RESTORATIONTARTUFFE ISDRURY WRITTEN BEGINS LANEFIRST THEATRE AMERICAN OPENSSHE STOOPS THEATREWRITTEN TO BUILTEND CONQUER OF THE IS AMERICAN 1783 C.E.1783 1622 C.E.1622 C.E.1664 C.E.1716 C.E.1773 1656 C.E.1656 C.E.1674 NEOCLASSICAL FRANCE

• Rule of Louis XIV • Commedia Dell’arte troupes spread to France • Professional acting troupes were formed • Rise of the comedy NEOCLASSICAL RULES

• Unity of time, place, and action • Forbid mixing of tragedy and comedy • No chorus or soliloquy or deus ex machina • Character actions must be morally acceptable MOLIÈRE

• Playwright who specialized in comedy • Known for shocking subject matter • Farcical humor and witty dialogue • Broke away from Neoclassical ideas – included deus ex machina in plays TARTUFFE

• Tartuffe is a religious hypocrite – only interested in money and seducing women • Tartuffe tricks Orgon into handing over his house and fortune • Orgon realizes Tartuffe is lying when he overhears Tartuffe trying to seduce his wife TARTUFFE (CONT’)

• Written in 1664 and presented to King Louis XIV • Banned by religious figures because they believed it was an attack on religion • Closed down in 1667 • Official premiere in 1669 ENGLISH RESTORATION

• Theaters closed in 1642 by Puritans • Reopened in 1656 as opposition to Puritans increased • Return of the monarchy – influenced by French and Italian ideals during exile CHANGING CONVENTIONS

• Restricted the number of theatres permitted • Appearance of the Actress • Changing audiences – claimed by upper class • Theatre moved indoors RESTORATION COMEDY

• Comedies of Intrigue – complicated plot full of scheming, conspiracies, ridiculousness • Comedies of Manners – focuses on the escapades of the upper class (gossip, adultery, etc.) • Farces – absurd situations and characters ACTRESSES

• Novelty when first appeared • Appealed to male audience members • Often dressed as a man in “breeches roles” • No better than prostitutes • Possible to receive success RESTORATION LIGHTING

• Theater buildings included windows – performances took place during the afternoon / early evening • Stage / audience were always lit • Addition of large chandeliers above stage / audience • Footlights were used 18TH CENTURY THEATRE

• Time of transition • Emergence of star performers and directors • Ballad Opera • Sentimental Comedy • Melodrama BALLAD (COMIC) OPERA

• No sung dialogue – spoken • Contemporary melodies • Dealt with lower class characters • Social & political satires SENTIMENTAL COMEDY

• Similar to Restoration Comedy – but dealt with middle class • Virtues are rewarded and wicked punished • Satirize social conventions and norms SHE STOOPS TO CONQUER

• Written by Oliver Goldsmith • Modified sentimental comedy – wanted audiences to laugh at absurdities • Hardcastle wants daughter Kate to marry Marlow • Marlow only likes common girls SHE STOOPS (CONT’)

• Kate pretends to be common (stoops) to woo Marlow • Step-brother Tony tricks Marlow into thinking the Hardcastle residence is an inn • Marlow insults the residence as the Hardcastles attempt to welcome him in • Tony orchestrates mischief, scaring his mother MELODRAMA

• Focused on spectacular events, violent action, and moral lessons • Evoked suspense, fear, nostalgia, etc. • Strong, clear heroes and villains • Virtue always victorious THEATRE IN AMERICA

• Touring actors were common • Permanent theaters constructed early 18th century • First American play written in 1714 • Theatre shut down during the American Revolution • Moved to New York following the revolution ACTING STYLES

• Bombastic and declamatory • Patterns of stage movement • Address lines to audience • Actors cast based on type and “possessed” roles until their retirement or death EMERGENCE OF DIRECTOR

• Theatre practitioners began to lead stage business • Playwrights and actor-managers had other pressing concerns • Needed someone to oversee and unify a production, assist performers, and ensure vision