1. THE ROYAL ERA

2. ENTERTAINMENT FOR KINGS AND QUEENS Theatre would not have thrived without the upper-class and the royals Theatre would not have thrived without the upper-class and the royals They commissioned plays and continued patronage to theatres They commissioned plays and continued patronage to theatres They had performances in their homes, gardens, or tennis courts that were often premieres before they went to public theatres They had performances in their homes, gardens, or tennis courts that were often premieres before they went to public theatres

3. FRENCH NEOCLASSICISM NEOCLASSICISM: “New classicism” A Renewed interest in the literary and artisitc theories of ancient Greece and Rome and an attempt to reformulate them for the current day. A dominant force in seventeenth century France, neoclassicism promoted retrained passion, balance, artistic consistency, and formalism in all art forms; it reached it’s dramatic pinnacle in the tragedies of Jean Racine NEOCLASSICISM: “New classicism” A Renewed interest in the literary and artisitc theories of ancient Greece and Rome and an attempt to reformulate them for the current day. A dominant force in seventeenth century France, neoclassicism promoted retrained passion, balance, artistic consistency, and formalism in all art forms; it reached it’s dramatic pinnacle in the tragedies of Jean Racine

4. RULES OF FRENCH NEOCLASSICISM Genres should be firmly restricted to tragedy and comedy, which should not be mixed Genres should be firmly restricted to tragedy and comedy, which should not be mixed Tragedy should treat royalty and nobles; comedy should treat middle and lower classes Tragedy should treat royalty and nobles; comedy should treat middle and lower classes Characters should behave in a manner appropriate to their social status, gender, and ethnicity Characters should behave in a manner appropriate to their social status, gender, and ethnicity

5. RULES OF FRENCH NEOCLASSICISM All plays should be written in five acts All plays should be written in five acts All plays should uphold “poetic justice” All plays should uphold “poetic justice” All plays should observe the unities of time, place, and action All plays should observe the unities of time, place, and action

6. UNITIES With Neoclassicism there was a return to Aristotle's unities from Poetics. With Neoclassicism there was a return to Aristotle's unities from Poetics. Unities of time, place, and action were re-instated into drama of the time Unities of time, place, and action were re-instated into drama of the time UNITY OF TIME: the story takes place within a 24 hour period UNITY OF TIME: the story takes place within a 24 hour period UNITY OF PLACE: the story takes place in one location UNITY OF PLACE: the story takes place in one location UNITY OF ACTION: the story should only have one plot, no side or secondary character stories UNITY OF ACTION: the story should only have one plot, no side or secondary character stories

7. JEAN RACINE 1639 – 1699 He was the most respected French dramatic playwright He helped set the standard for tragedy in this period

8. MOLIÈRE 1622 – 1673 He was the most admired comedic writer in France He was the “Shakespeare” of France He is the most performed French Playwright

10. WOMEN ON STAGE Women were allowed on Stage in France and Italy early on Women were allowed on Stage in France and Italy early on When Charles II came into power and made theatre legal again in England women were allowed to act When Charles II came into power and made theatre legal again in England women were allowed to act This added more depth and dimension to the plays for the audiences of the time This added more depth and dimension to the plays for the audiences of the time Many aristocrats took mistresses in the theatre Many aristocrats took mistresses in the theatre

11. STAGINGS The set was more minimal and more of a background element during this period The set was more minimal and more of a background element during this period They were ornately painted drops and panels for the most part They were ornately painted drops and panels for the most part There would be very minimal changes in the set if there were any There would be very minimal changes in the set if there were any Some theatres had a built in second level that would be used as an acting space Some theatres had a built in second level that would be used as an acting space The costumes were still very ornate and elaborate The costumes were still very ornate and elaborate

15. AUDIENCE ON STAGE This was the ultimate see and be seen for audience members This was the ultimate see and be seen for audience members Patrons would get to the theatre hours early to socialize and conduct business Patrons would get to the theatre hours early to socialize and conduct business Social status was very important in France Social status was very important in France Performing arts were also used as a form of control and propaganda Performing arts were also used as a form of control and propaganda

21. CRITICS The critics of this period controlled theatre, the critics were members of the elite classes The critics of this period controlled theatre, the critics were members of the elite classes They could make or break careers They could make or break careers The ultimate critic was the King The ultimate critic was the King How he reacted to the performance was how the other audience members reacted How he reacted to the performance was how the other audience members reacted

23. “The people enjoy pageantry and display. In this way we retain loyalty and devotion sometimes more effectively, perhaps, than just rewards and benefits.” Louis XIV

24. ITALY Theatre in Italy evolved from the Renaissance into more a more professional and complicated artistic form Theatre in Italy evolved from the Renaissance into more a more professional and complicated artistic form The most admired Commedia Del Arte groups began to get patrons in the upper-class and set up permanent public theatres The most admired Commedia Del Arte groups began to get patrons in the upper-class and set up permanent public theatres The set designs and costumes continued in the elaborate and grandiose mode that began in the Renaissance The set designs and costumes continued in the elaborate and grandiose mode that began in the Renaissance

27. ENGLISH THEATRICAL CHANGES 1642 the Puritans took control of England during the English Civil War and theatre was once again outlawed 1642 the Puritans took control of England during the English Civil War and theatre was once again outlawed 1660 Charles II returns from France and regains the throne theatre is legal again after an 18 year gap 1660 Charles II returns from France and regains the throne theatre is legal again after an 18 year gap Theatre is more subdued during this time period in England Theatre is more subdued during this time period in England

28. RESTORATION THEATRE England tried to improve on the French model of performance during this period England tried to improve on the French model of performance during this period They tried to accommodate more audience members in their theatres and maintain the modesty that was socially acceptable at the time They tried to accommodate more audience members in their theatres and maintain the modesty that was socially acceptable at the time The work Shakespeare, other Renaissance playwrights, Greek and Roman playwrights was adapted and made to be more subdued for the audiences of the time The work Shakespeare, other Renaissance playwrights, Greek and Roman playwrights was adapted and made to be more subdued for the audiences of the time The Puritans still thought theatre was for heathens The Puritans still thought theatre was for heathens