Question

Short note on restorian drama

Answer 1

Answer:

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Korean dramas

Answer 2

The revival of drama in England after the restoration of the monarchy (1660) is known as Restoration Drama. Its main features were the reopening of the theatres after the Puritan Interregnum, the formation of new acting companies, and the first appearance of women on the English stage. The dominant genres of the era were the comedy of manners and the heroic drama of Dryden and others, both of which show a strong French influence. This was encouraged by the king himself, who had become familiar with the works of Corneille and others while in exile in France.

In the two decades without drama many actors, playwrights, and regular theatregoers had died. The early Restoration audience was made up largely of courtiers and of aristocrats, although the influence of the middle classes became greater as the era wore on. Charles himself kept a tight control on the new theatres, issuing patents to only Thomas Killigrew of the King’s Men, who played at Drury Lane, and William Davenant of the Duke’s Men at Lincoln’s Inn fields Theatre. The new audience was so small, however, that it barely supported two theatres; the two companies merged in 1682 and separated again in 1695.

Because of their novelty value, the most famous performers tended to be women. By 1670 actresses were well established, the favourites being Nell Gwynn, Anne Oldfield, Elizabeth Barry, Anne Bracegirdle, and Mary Saunderson, the wife of the era’s most renowned actor Thomas Betterton.

The greatest achievement of the Restoration theatre was in comedy. The English comedy of manners was pioneered by Sir George Etherege, who took his cue from the works of Molière and other French and Spanish masters. The form was subsequently perfected by Congreve in such sophisticated works as Love for Love (1695) and The Way of the World (1700). Other writers to produce witty comedies of intrigue and sentiment included Aphra Behn and John Vanbrugh: the works of William Wycherley are darker and more satirical. George Farquhar, who enjoyed success with The Beaux’ Stratagem in 1707, is usually considered the last true exponent of Restoration comedy.

In tragedy, the attempt to imitate French neoclassical models spawned a number of high-flown works in rhyming verse, notably Dryden’s Tyrannick Love (1669) and Almanzor and Almahide (1671). The only Restoration tragedies to enjoy regular revivals today are Dryden’s All For Love (1678) and Thomas Otway’s Venice Preserv’d (1682), both of which are in blank verse.

The Restoration style of comedy fell out of favour in the early 18th century, when middleclass audiences began to reject its cynicism and licentiousness. The comedies were generally staged in bowdlerized form until the mid-20th century.