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Brockett and Hildy – Chapter 9 – English Theatre to 1800 1642 – English Revolution 1649 – Charles I beheaded 1660 – Restoration of Charles II 1685 – Charles II is succeeded by his brother, James II 1689 – Parliament ousts James II (a Catholic), replacing him with his Protestant daughter, Mary, and her husband, William of Orange 1689 – Parliament then passes a law giving parliament the right to rule and to determine the succession to the throne – William & Mary accept this (!), ending the absolute monarchy Interregnum – period between 1642 and 1660 when there was no king. The puritans controlled the parliament and used it to dictate social policy as well. The Restoration begins in 1660 with the restoration of Charles II to the throne. Charles rejected Puritanism and ushered in a period of permissiveness. He’s protestant, but he’s not puritanical. Restoration theatre is considered to extend to 1700, despite the fact that Charles II dies in 1685. Theatrical Production in the Interregnum and Restoration 1642 - Parliament passes a law forbidding theatrical performances for 5 years King’s Men sells wardrobe Globe theatre torn down 1647 – law lapses and plays are again put on, but not for long 1649 – Parliament passes new law ordering that actors be apprehended as criminals and that theatre interiors be dismantled Drolls become a popular form of entertainment (they’re not plays) 1656 – William Davenant offers operatic productions, introducing Italian scenic conventions to larger public. Davenant took over from Ben Johnson as Charles I’s court masque writer, and Charles had given Davenant a theatre patent in 1639 1660 – Charles II is restored to the throne Theatres are opened – with women! 1662 – King issues 2 patents (and only 2) for theatrical production in London (note that the Master of Revels is relegated to licensing companies outside London) Thomas Killigrew William Davenant There were only 2 licenses for theatrical production in London until 1843 – that’s 180 years during which London was by law a 2-theatre town 1662 – Smock Alley opened in Dublin by John Ogilby, the Master of Revels for Ireland 1665 – Plague – Theatre’s close – 20% of Londoners die 1698 – Collier’s A Short View of the Immorality and Profaneness of the English Stage Dramatic Forms of the Restoration With no new works readily available, in 1660 most theatres staged revivals of pre-interregnum works. Then uniquely English forms began to emerge (though they were heavily influenced by Spanish and French drama, which hadn’t been suspended during the interregnum). Heroic Tragedy – Idealistic hero and beautiful heroine must choose between the fulfillment of their love and some other obligation (to honor, god, nation, etc.). John Dryden’s The Indian Queen is a good example of this. Exotic locations Optimistic worldview Serious in tone Usually a happy ending. English Neoclassicism – After the rule-based dramatic forms developed on the continent, English writers too tried to write according to plan. The unities were not so strictly enforced, but the idea that great art needed to conform to rules (not conventions, but rules) came to England. John Dryden’s All for Love is a good example. Comedy enjoyed great popularity during this period, and a number of comic forms emerged. The most important are Comedy of Intrigue – Aphra Behn’s The Rover (1677) is an example of this type. Comedy of manners – William Congreve’s The Way of the World (1700) is an example of this. This type of comedy satirizes upper class characters and shows the superficiality of their preoccupations (love, fashion, high society) even as it exploits their wit for further comic effect. English Drama after 1700 Due to external and internal pressures, drama becomes more conservative during this period English philosophers believe that human nature is essentially good, religious people are pressuring dramatists to write works that are more moral, and the result is Sentimental Drama. Characters are unnaturally good Even bad characters are unnaturally converted to good in the end The evocation of pathos is considered instructive because it allows the audience to empathize with virtue Pantomime, opera, ballad opera, burlesque, and other forms also flourish during this period. These were not plays, and so they could be performed outside the licensed theatres. In the 1730s there were 4 unlicensed theatres. 1728 – John Gay’s The Beggar’s Opera aims Opera at the Lower Classes 1737 – George Lilo’s The London Merchant is presented to the apprentices of London An apprentice is seduced by a prostitute, ends up murdering his uncle and being hanged Performed before willing and unwilling audiences through the end of the century 1737 – Licensing Act – Prime Minister Walpole doesn’t like political satire’s in the non-licensed theatres, so he rushes a bill through parliament. Prohibits the acting for ‘gain, hire, or reward’ of any play not previously licensed by the Lord Chamberlain Only theatres in Westminster are authorized Three years later people are evading the licensing act in a number of ingenious ways Audiences pay for a concert and get a free play afterward Audiences buy chocolate and get a free play to enjoy while they eat it. Solo theatre (this isn’t a play)– Samuel Foote’s Lecture on Heads 1766 – Samuel Foote is granted a 3rd license for his lifetime (but it’s extended longer) Comedy continued to flourish, thought it moved away from sentimentalism back toward a more restoration-type aesthetic. Oliver Goldsmith’s She stoops to Conquer (1773) and Richard Brinsley Sheridan’s The Rivals (1775) are examples of this return to the comedy of manners. Toward the end of the 18th Century, however, English drama made a decided turn toward Melodrama.