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Restoration and its relationship to the stage pdf notes - ppup part 1 english honours notes and study material pdf

September 19, 2024 0
[ Restoration and its relationship to the stage pdf notes | ppup part 1 english honours notes and study material pdf ]


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Introduction to Restoration and its relationship to the stage pdf notes


Table of contents - Questions. Note on the Historical Background of Restoration and its relationship to the stage. Questions. Note on the Drama Trends Followed in the Restoration age. Questions. Notes on the Types of Restoration Drama. Question. Notes on the Popular Theatres Of Restoration Age. Question. Notes on the Restoration Playwrights. Questions. Notes on the Physical Advancements/Architecture Of Restoration Theatre/Drama. Questions. Notes on the Decline Restoration Theatre/Drama.

Questions. Note on the Historical Background of  Restoration and its relationship to the stage | ppup part 1 english honours notes and study material pdf


Questions. Note on the Historical Background of Restoration and its relationship to the stage. Ans. - Before the Stuart dynasty was restored to the throne of England, in 1660, Puritan rule made it very difficult for dramatists to perform. There was little inspiration, and performances were given in secrecy: in taverns or private houses miles from town (Bellinger). During this time period, known as the Commonwealth, theatres were closed. As a result, people were forced to engage in theatrical activities in privacy. Drolls, or a shorter version of plays, quickly became popular because performers could evade some of the restrictions by having “musical entertainments” with friends in their own homes (“Western Theatre: Fix Citation throughoutEnglish Restoration: Theatre Movements“). Charles II was reinstated in 1660.

During his years of exile in France, Charles II came to admire the French entertainments and theatrical styles. Upon reaching London, he issued two patents to leading playwrights of the time and performances began once again (Bellinger). Under the supervision of the Puritans, the theater and creativity had been heavily suppressed. With the onset of the Restoration, however, drama and the arts began to flourish as playwrights and actors alike began taking to the public once again. The latter half of the seventeenth century would see both a reinvigorated sense of bawdy humor as well as the emergence of professional female actresses for

the first time in the history of the theater (Victoria and Albert). Scripts and performances reflected on the aristocracy of King Charles II, depicting the members of the upper class as being promiscuous rakes and libertines. Though the style appealed greatly to the audiences for the majority of the Restoration’s duration, from 1700 onwards this type of knavish comedy began to fall out of favor. Questions. Note on the Drama Trends Followed in the Restoration age. Ans.- Before the Restoration period, dramatists had to keep all their activities to a minimum. This time

Questions. Note on the Drama Trends Followed in the Restoration age. | ppup part 1 english honours notes and study material pdf

Questions. Note on the Drama Trends Followed in the Restoration age. Ans.- Before the Restoration period, dramatists had to keep all their activities to a minimum. This time period was known as the Commonwealth. During this time, trends in theatre were very secret and personal. William Davenant, Poet Laureate and accomplished playwright, was forced to present his theatrical activity inside of his own home to avoid the censorship of the public theatre. In this fashion he was able to get around all of the restrictions and expectations that were placed on drama during that time. As time went on, trends began to change in theatre. Davenant was finally able to perform his drolls (short plays) in an actual theatre fully equipped with a proscenium arch and wing-and-shutter scenery.

Although this was a seemingly minor change, it represented a great victory for the drama enthusiasts of the time. The Restoration period finally allowed dramatists to divorce all prior restraints to their works and create productions that would allow for the emergence of newer and more lively theatrical trends (“English Restoration: Theatre Movements“). With the start of the Restoration, the theatre and its presence with the public began to flourish. One of the most advanced additions to the stage that emerged during this time was the use of technology both structurally and visually. Inigo Jones was a technology innovator for theatre during the Jacobean period who introduced the

concept of moving scenery and the “proscenium arch” to English theatre. John Webb, Jones’ son-in-law, carried on the innovations and brought them into the Restoration period, giving theatre a technological advance (“English Restoration: Theatre Movements“). Another common trend in theatre during the Restoration period was the reinterpretation of older plays. These were often turned into semi-operas, with singing, dancing, and special effects. Most commonly used were works by Shakespeare (V&A). Davenant in particular took the productions of the past and revitalized them with his newly established and patented theater in 1661.

Heading the Duke of York’s Men at Lincoln’s Inn Fields, he sought to bestow his own appreciation of Shakespearean works upon the public by recasting the plays in the picture and preferences of his own society. Performances such as Hamlet, Macbeth, and The Tempest were heavily revised and altered to appeal to the larger audience. Women as well began to make an appearance in theatre with the advent of the Restoration. Playwrights such as Killigrew and Davenant began casting females for their productions, and the women would go on to meet with good reception from the public audiences.

Questions. Notes on the Types of Restoration Drama | ppup part 1 english honours notes and study material pdf


This addition allowed for sexually suggestive scenarios on stage to become even more open and raunchy, a quality that greatly suited the public taste during this time. Questions. Notes on the Types of Restoration Drama. Ans. - During the time of the Restoration, 18th century drama was very critical. Much of the Elizabethan Play writers blended tragedy and comedy, whereas the Restoration dramatists chose to separate the two (Nettleton). The drama of this period can be broken into two categories, comedies and tragedies. Restoration tragedy is classified as heroic tragedy. Heroic traged

is very extraordinary and usually encompasses some extremely good deed done by a very willful, admirable character. Restoration tragedy refers to neoclassical rules making it very imitative. Usually these tragedies are reworkings of Shakespearean plays. There are three types of comedies that were popular during the Restoration. These three types are: Humour, Manners, and Intrigue. Comedies of Humour were made popular by the Renaissance playwright and poet Ben Jonson earlier in the century. These plays centralized around a specific character who had an overshadowing trait. Comedy of Manners were the most popular form of

Restoration Drama. These plays would typically mock the upper-class and would usually include vulgar and sexually suggestive language. The third and final form of comedy during the Restoration is the comedy of Intrigue. This type of comedy has a somewhat complicated plot, and usually evolves around romance and adventure (“English Restoration: Theatre Movements”). Question. Notes on the Popular Theatres Of Restoration Age. Ans. - Two patents were issue by Charles II that allowed for two acting companies to be established as the major production companies of their time. Sir

Question. Notes on the Popular Theatres Of Restoration Age.


William Davenant was granted one of these royal patents and the Duke of York’s Company opened in 1661 (“Western Theatre”). The Duke’s Company originally practiced and performed at The Cockpit Theatre, then Lincoln’s Inn Fields, in Westminster. The company moved to it’s permanent location in 1671 (“Restoration Theatres”). The Doreset Garden Theatre was created and built by Sir Christopher Wren (“Western Theatre”). The patent was later moved, in 1732, to the Covent Garden Theatre in the center of Westminster, London still stands (“Sir William Davenant”).

The second royal patent was issued to Thomas Killigrew, who started the King’s Company. Their theatre, Royal Drury Lane, or Drury Lane Theatre, opened May 7, 1663. The theatre was also created and built by Sir Christopher Wren. After being burnt down by a fire in 1672, Sir Christopher Wren sketched out a new architectural framework and the second Theatre Royal was created. This theatre is still located in the “eastern part of the City of Westminster,” and is “the oldest theatre in London that is still in use” (“Drury Lane Theatre”). After The Duke’s Company moved out of Lincoln’s Inn Fields, a new theatre was created to take its place. What once was a tennis court became an influential

Restoration theatre. In 1695, Thomas Betterton, William Congreve and a few others set up an acting company. They converted the old tennis court into the Lincoln’s Inn Fields Theatre. The company was fairly small and had little resources. When the company failed to flourish, Christoper Rich had a new and proper theatre built in its place. In 1732, Rich’s son finally abandoned the theatre and moved to a new location (“Restoration Theatres”). Question. Notes on the Restoration Playwrights. Ans. - IMPORTANT PLAYWRIGHTS

Question. Notes on the Restoration Playwrights.

The playwrights who practiced the comedies of manners in the Restoration age were William Congreve, George Etherege, William Wycherley, Thomas Shadwell, Sir John Vanbrugh, and George Farquhar. • William Congreve William Congreve is the most successful playwright of the Restoration Period. He takes the comedy of manners to its greatest

heights. He has composed five comedies - "The Old Bachelor", "The Double-Dealer", "Love for Love", "The Mourning Bride" and "The Way of the World". Of these The Way of the World considered to be the flower of restoration comedy. Its plot is developed skilfully. The love-scenes between Mirabell and Millamant have been treated with tenderness and sensitivity. In this play, Congreve deals with a serious theme of sexual re relationship through a variety of characters and situations. He shows the affectations, conspiracies and hypocrisies of the age. But there is true love between Millamant and Mirabell.

The proviso-scene shows his rational attitude to love and marriage. Here we also find the strength of newly developed English prose. Studying the social pressures on love and marriage with wit and subtlety Congreve shows himself the master of restoration comedy. His comedies are "The Old Bachelor", "The Double Dealer", "Love for Love", "The Way of the World".

Congreve’s brilliance lies principally in depicting the cross-current of marital complications. • George Etherege Sir George Etherege is the first and foremost writer of the comedy of manners. He has left three comedies. They are "Love in a Tub", "She Would if She Could" and "The Man of Mode". They represent the first true comedy of manners. But we should not forget that

Etherege was concerned with morals and not with manners. His plays carry none of the social criticism implicit in the comedy of Moliere. He is important historically as having helped to the mode of Restoration comedy. George Etherege’s comedies blazed the track upon which Congreve ventured. The brilliance and the grace of Etherege’s dialogues conceal the weakness of his plotconstruction. • William Wycherley

These same features mark the comedies of Wycherley. Within five years he has produced five plays – "Love in a Wood", "The Gentleman Dancing Master", "The Country Wife", "The Plain Dealer" etc. of which the last two are termed as ‘manly’ and ‘a gross exposure of human weakness’. Wycherley moulds the comedy of intrigue and the comedy of manners into a refreshing original type. His plays are extremely witty with all their coarseness.

Wycherley impresses the readers by sheer vehemence of language and the energy of characterization. He has the first satirical power of Ben Jonson. The atmosphere of The Plain Dealer is that of the Puritan rather than the Restoration comedy of manners. • Sir John Vanbrugh Vanbrugh was an architect, but as a dramatist he was extremely popular. His famous comedies are "The Relapse", "The Provoked Wife", "The Confederacy" etc.

They lack the art and elegance of Congreve. But they are full of energy and genial humour. They are admirable in construction, characterization and dialogue. Actually, Vanbrugh has a sheer genius for farcical situations. • Thomas Shadwell Shadwell came from a good family and was an out and out Whig. He was a prolific author. His best-known plays are "The Sullen

Lovers", "Epsom Wells", "Bury Fairs" etc. • George Farquhar Farquhar has composed seven plays. Farquhar’s comedies include "Love and a Bottle", "The Constant Couple", "The Beaux Stratagem" etc. These plays bear upon him the imprint of his goodhumored and happy-go-lucky personality. "The Recruiting Officer" and "the Beaux Stratagem" are the best works of Farquhar. The play has enjoyed

a distinctive place in the Restoration drama for its openair atmosphere. Questions. Notes on the Physical Advancements/Architecture Of Restoration Theatre/Drama. Ans. - During the Restoration, semi-operas were rising. The design and architecture of the actual stage, as well as advances in stage machinery, gave way to a flourishing theatrical era in the 1660s. These advances allowed for more elaborate scene and set design, making even transformation scenes possible. The Duke’s Theatre, planned by William Davenant and designed by Christopher Wren.

Questions. Notes on the Physical Advancements/Architecture Of Restoration Theatre/Drama.


It was built on the Thames river so that viewers would arrive by boat. This was by far the most elaborate theatre Britain had seen during the Restoration period and was also London’s first building to include a proscenium arch (V&A). The proscenium arch framed a scenic stage, a smaller stage attached to the back of the main stage, and used mainly for set pieces. Though the thrust stages of the 16th and 17th centuries were still widely used in the 18th century, they were fast losing popularity to a stage more similar to a modern day one.

Questions. Notes on the Decline Restoration Theatre/Drama. Ans. - Even though the English broke away from Puritan strictness of the Commonwealth practices, many Protestants still urged society to see the inappropriate and vulgar references in theatre. Different opposers displayed their indignation towards theatre, but one attack truly played a role in the decline of Restoration theatre. Jeremy Collier, a Protestant minister, possessed particularly strong feelings about Restoration theatre. With his belief that theatre should be eradicated, Collier wrote A Short View of the Immorality and Profaneness of the English Stage in 1698 (“Western Theatre History”).

Questions. Notes on the Decline Restoration Theatre/Drama.


In this pamphlet, Collier argued three points: the distasteful and bawdy material, the recurrent references to the Bible or biblical characters, and the slander and insults directed towards the clergy. James II issued a formal declaration to attempt to correct issues with Restoration theatre such as immorality and profaneness. Some writers were persecuted and popular actors and actresses were fined. Many dramatists strove to improve the theatre, but little was achieved. The controversy between religious conservatives and dramatists transpired for years. Writers did not seek to reform their works. Instead they approached the


In this pamphlet, Collier argued three points: the distasteful and bawdy material, the recurrent references to the Bible or biblical characters, and the slander and insults directed towards the clergy. James II issued a formal declaration to attempt to correct issues with Restoration theatre such as immorality and profaneness. Some writers were persecuted and popular actors and actresses were fined. Many dramatists strove to improve the theatre, but little was achieved. The controversy between religious conservatives and dramatists transpired for years. Writers did not seek to reform their works. Instead they approached the laughter, satire, and ridicule as ways to attack their enemies (Bellinger).

Conclusion for Restoration and its relationship to the stage pdf notes

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