2.1 The Restoration of the English Theaters
4 min read•august 13, 2024
The Restoration period marked a dramatic revival of English theater after years of Puritan suppression. King Charles II's return in 1660 ushered in a new era of artistic freedom, with royal patents granted to two theater companies. This shift breathed new life into the performing arts.
Restoration theater brought fresh styles and themes, reflecting the tastes of the court and aristocracy. Witty comedies and heroic dramas flourished, while technical innovations like movable scenery and improved lighting enhanced the theatrical experience. These changes set the stage for a golden age of English drama.
Theaters Reopening in the Restoration
Historical Context and Events
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- The English Restoration period began in 1660 when King Charles II was restored to the throne ending the Interregnum period of Puritan rule under Oliver Cromwell
- During the Interregnum (1642-1660), public theater performances were banned by the Puritan government which viewed them as immoral and frivolous
- The Puritan government closed all public theaters in 1642 leading to a nearly 18-year period of theatrical inactivity in England
- Many actors and playwrights were forced to find alternative means of income (teaching, writing) or leave the country (France, Spain) during the theater ban
- The restoration of the monarchy in 1660 marked a significant shift in cultural attitudes with a renewed interest in the arts and entertainment (music, dance, theater)
Impact of the Theater Closure
- The long closure of theaters disrupted the continuity of English theatrical tradition and led to the loss of many plays and scripts
- Playwrights and actors who had thrived before the Interregnum, such as Ben Jonson and William Shakespeare, had died by the time theaters reopened
- The extended ban on public performances forced many actors and theater professionals to find new occupations or leave England altogether
- The generation of playwrights and actors that emerged after the Restoration had to rebuild the theater industry almost from scratch
- The Restoration period marked a significant shift in theatrical styles, themes, and production methods compared to the Elizabethan and Jacobean eras
King Charles II and Theater Revival
Royal Patronage and Support
- King Charles II, who had spent much of his exile in France, was a great supporter of the arts and particularly fond of theater
- Upon his return to England, Charles II issued royal patents to two theater companies, the and the , granting them exclusive rights to perform spoken drama in London
- The king's patronage provided a sense of legitimacy and protection for the theater companies enabling them to rebuild and thrive after years of suppression
- Charles II's personal interest in theater helped to elevate the status of actors and playwrights who had previously been viewed with suspicion or disdain by some segments of society
- The king's influence on theatrical taste and fashion was significant as he favored witty, satirical comedies (, The Rover) and introduced the innovation of female actors on the English stage
Changes in Theatrical Style and Content
- The plays of the Restoration period often reflected the tastes and values of the court and aristocracy with an emphasis on wit, sophistication, and social commentary
- Restoration comedies, such as those by William Wycherley and , frequently featured themes of marriage, infidelity, and the pursuit of pleasure
- The influence of French theater, particularly the works of Molière and Pierre Corneille, was evident in the structure and style of many Restoration plays
- , a genre popularized by playwrights like John Dryden, celebrated the ideals of honor, courage, and love through grandiose language and larger-than-life characters
- The introduction of actresses on the English stage allowed for more complex and nuanced female roles and added a new dimension to the exploration of gender dynamics in Restoration plays
Theater Changes After the Restoration
Theater Management and Audience Composition
- The two licensed theater companies, the King's Company and the Duke's Company, held a monopoly on dramatic performances in London leading to a more centralized and professional system of theater management
- The companies were led by actor-managers, such as and , who were responsible for selecting plays, hiring actors, and overseeing productions
- Restoration audiences were primarily composed of the aristocracy and the wealthy middle class who saw theater attendance as a fashionable social activity
- The presence of women in both the audience and on stage was a notable change from the pre-Restoration period when female roles were played by young male actors
Performance Spaces and Technical Innovations
- Purpose-built theaters, such as the Theatre Royal Drury Lane and the Dorset Garden Theatre, were constructed to accommodate the growing demand for theatrical entertainment and the technical innovations of the time
- The introduction of movable scenery, painted backdrops, and elaborate costumes became common in Restoration theaters enhancing the visual spectacle of performances
- The proscenium arch stage, which framed the action and separated the audience from the performers, became the standard design for Restoration theaters
- Advances in lighting technology, such as the use of candles and oil lamps, allowed for more sophisticated lighting effects and the creation of a more immersive theatrical experience
- The development of stage machinery, including trapdoors and flying systems, enabled playwrights and directors to incorporate elaborate special effects and spectacle into their productions
Key Terms to Review (22)
Acting companies: Acting companies were organized groups of theatrical performers who presented plays and other performances during the Restoration period in England. These companies played a vital role in the reestablishment of professional theater after a lengthy hiatus, contributing to the flourishing of drama and performance art during the late 17th and early 18th centuries. Their structure often included a mix of actors, playwrights, and sometimes musicians, allowing for diverse productions that catered to varying audience tastes.
Characterization: Characterization is the process by which an author reveals the personality, traits, and motivations of a character within a literary work. It involves both direct methods, such as explicit descriptions, and indirect methods, where the reader infers characteristics through actions, dialogue, and interactions with other characters. This technique is crucial for developing relatable and complex characters that drive the narrative and engage the audience.
Class conflict: Class conflict refers to the tensions and struggles between different social classes, particularly between the bourgeoisie (the middle and upper classes) and the proletariat (the working class). This concept highlights the economic and social disparities that can lead to power struggles, often reflected in literature and art. It plays a significant role in exploring themes of social inequality and moral dilemmas across various forms of artistic expression.
Dramatic Unities: Dramatic unities refer to the principles derived from classical theater that dictate a play's structure, specifically unity of action, unity of time, and unity of place. These unities emphasize that a play should have a single plot, occur within a limited timeframe (usually 24 hours), and take place in a single location, creating a cohesive and focused narrative experience for the audience. Understanding these unities is essential to appreciate the theatrical conventions that were revived and adapted during the Restoration period, as well as how these principles influenced later literary criticism and dramatic works.
Drury Lane Theatre: Drury Lane Theatre is one of the most famous theaters in London, established in the 17th century and playing a significant role in the development of English drama during the Restoration period. This theater has been a central venue for many important playwrights and productions, becoming synonymous with the revival of theatrical performances after the long period of Puritanical censorship that had closed theaters in England.
Duke's company: The Duke's Company was one of the two major theatrical companies that operated in England during the Restoration period, specifically established in 1660. Formed under the patronage of Charles II's brother, the Duke of York, this company was notable for its high-quality productions and was instrumental in reviving the English theater after a lengthy closure during the Interregnum. It featured some of the most prominent actors and playwrights of the time, contributing significantly to the evolution of English drama and performance styles.
Gender Roles: Gender roles refer to the societal expectations and norms that dictate the behaviors, activities, and responsibilities considered appropriate for men and women. These roles are shaped by cultural, social, and historical contexts, influencing everything from personal identity to literary representation. In the context of the Restoration and Early Eighteenth Century, gender roles played a crucial role in defining how men and women interacted within society, particularly in areas like theater, comedy, and literature.
George Etherege: George Etherege was a prominent English playwright and poet of the Restoration period, known for his contributions to the genre of comedy and his innovative use of dialogue and character development. His works reflect the cultural and social changes of his time, especially the newfound freedoms following the restoration of the monarchy and the reopening of theaters, establishing him as a key figure in the evolution of Restoration comedy.
Heroic drama: Heroic drama is a genre of English theater that emerged during the Restoration, characterized by its elevated themes, grand characters, and often tragic plots. These plays typically focus on noble heroes and their conflicts, exploring themes of honor, love, and sacrifice, while employing poetic language and elaborate staging to convey their grandeur. This genre reflects the cultural revival of theater after a period of suppression, showcasing the shift toward more sophisticated and emotionally charged storytelling.
King's company: The king's company refers to a prominent theatrical company that was established during the Restoration period in England, specifically after the monarchy was restored in 1660. This company played a vital role in revitalizing English theater by bringing professional actors and high-quality productions back to the stage, particularly after years of suppression during the Puritan regime. Under the patronage of King Charles II, the king's company helped to redefine theatrical performance and introduced new styles and genres, such as restoration comedy.
Licensing Act of 1737: The Licensing Act of 1737 was a significant piece of legislation in England that required all plays to be licensed by the Lord Chamberlain before they could be performed. This act aimed to regulate the content of theatrical performances, ensuring that no plays could challenge the authority of the government or the church. The act marked a turning point in the relationship between theater and politics, impacting the development of both Restoration and Sentimental Comedy.
Neoclassicism: Neoclassicism is a literary and artistic movement that emerged in the late 17th and early 18th centuries, characterized by a revival of classical ideals from Ancient Greece and Rome. It emphasizes reason, order, and harmony, reflecting the belief in rationality and the value of classical works as models for contemporary creativity.
Restoration Comedy: Restoration comedy refers to a genre of English theatrical comedy that emerged in the late 17th century, characterized by its witty dialogue, complex plots, and a focus on the themes of love, marriage, and social manners. This genre reflects the political and social changes of the Restoration period, often critiquing and satirizing contemporary societal norms and behaviors.
Restoration Poetics: Restoration poetics refers to the set of literary principles and aesthetic values that emerged during the Restoration period in England, particularly after the monarchy was restored in 1660. This era marked a revival of theater and poetry, emphasizing wit, reason, and a focus on human experiences, often reflecting the societal shifts of the time. Restoration poetics is characterized by its embrace of comedy, satire, and an exploration of both individual and social identities.
Satire: Satire is a literary technique used to expose and criticize foolishness, corruption, or societal shortcomings through humor, irony, exaggeration, or ridicule. This method often aims to provoke thought and inspire change by highlighting flaws in human behavior or institutions, making it a powerful tool in both literature and social commentary.
Stagecraft: Stagecraft refers to the technical aspects of theatrical production, including the design and construction of sets, lighting, sound, and costumes that contribute to the overall visual and auditory experience of a performance. It plays a crucial role in how a story is told on stage, enhancing the audience's understanding and engagement with the play through various artistic elements and practical techniques.
The Country Wife: The Country Wife is a comedy play written by William Wycherley, first performed in 1675, which satirizes the sexual politics and social dynamics of Restoration England. The play revolves around the themes of deception, infidelity, and the clash between urban and rural values, serving as a reflection of the libertine culture that emerged after the Restoration of the monarchy in 1660. Through its witty dialogue and complex characters, The Country Wife explores the tensions between appearance and reality in relationships.
The Reopening of Theaters in 1660: The reopening of theaters in 1660 marked the return of public performances in England after a period of Puritan rule that had closed them down for nearly 18 years. This pivotal moment reinstated theatrical culture and facilitated the emergence of new genres and styles, transforming the landscape of English drama. The reopening symbolized a broader cultural revival during the Restoration period, reflecting changing societal attitudes toward art, entertainment, and public life.
The Way of the World: The Way of the World is a play by William Congreve, written in 1700, which encapsulates the essence of Restoration comedy through its exploration of love, deceit, and social norms. It critiques the complex relationships and manipulations within high society while showcasing the wit and repartee typical of this genre. The title itself suggests an examination of human nature and societal behaviors during the Restoration period, highlighting how characters navigate a world rife with hypocrisy and moral ambiguity.
Thomas Killigrew: Thomas Killigrew was an English dramatist and theatre manager known for his influential role in the restoration of theatrical performance in England during the 17th century. His contributions were pivotal to the establishment of professional theater following the Puritan suppression of plays, and he was instrumental in the founding of the King's Company, which dominated the London stage for many years.
William Congreve: William Congreve was a prominent English playwright and poet of the Restoration period, best known for his comedic works that satirized the social mores of his time. His plays, particularly 'The Way of the World,' exemplify the wit and sophistication of Restoration comedy, reflecting the political and social dynamics of post-Civil War England and the evolving theatrical landscape.
William Davenant: William Davenant was an English playwright, poet, and theatrical manager who played a pivotal role in the restoration of English theater in the 17th century. He is often recognized for his contributions to the development of the English stage after the closure of theaters during the Puritan rule, and he is considered one of the first to adapt Shakespeare's works for performance. His efforts were significant in re-establishing theatrical traditions that had been lost during the Interregnum, thereby influencing the landscape of drama in Restoration England.