Essay Sample on The Revolution of Theatre Performance: Late 17th-18th Century Drama

Eighteenth-Century Drama is one of the aspects that has revolutionized theatre performance. In different perceptions and analogies, Britain's aristocrats did not allow theatre acting, and therefore it was against the rules and norms of the society in the mid-1660s. The most interesting bit of the restoration is that both plays and the stage performance of the comedies were done in private houses and homes enclosed to hide its presentation from the existing emperor. Theatres were closed projecting that it was illegal for them to conduct any form of the play in a comedy or even tragedies. The entertainment protocols against music, poem, play, and interpretation of novels in theatre have been restricted, making the specialized programs in their stage performance away from towns. However, later in the century, drama and theatre performance. Puritans' supervision has integrated, and slowly the theatre performance has nourished attaining publicity as well as legality. Due that French and London have significantly embraced the dramatic integration through different cultural perspectives that include the incorporation of women as well as customized traditional wear in the performance (Masten). The paper, therefore, focuses on the late Seventeenth -Eighteenth-century drama and artistic performance and some of the restorations that it has gone through.

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The playwright engaged two theatre acting that included the comedy and tragedies. Comedy performance had incorporate humor and dramatic perception through the critic of the high-social class members who were oppressive in the culture and missed their economic power. At the comedy performance, vulgar language and sexuality critics mostly suggested the high-class misuse of their power. At the performance of the comedy, the rich were criticized in humor, creating entertainment for the audience who barely liked the critics. Later on, the sexual and romance comedy induced in the theatre performance whereby the audience was much interested in learning and understanding the common constraints and progresses that often integrated the marriage relations. The drama involved the cultural perspectives of the marriage and its scope. The entertainment was much deep in revealing the gender roles assigned culturally by the society ("Restoration and Eighteenth-Century Drama | British Literature Wiki"). For instance, by changing the married Margery pinch wife into an unmarried single lady developed a perspective of the cultural change and the gender roles. The performance initiated by David Garrick, therefore, transformed the ladies' perception and cultural analogies of their characters through his performance and drama.

In the struggle for Hegemony, the moral judgment and the scope of the comedy provided the adjustment of the culture, political, and social controversies evolving in the societies. The drama mostly reflected on the traditions and immorality critics by the politicians and society as a whole. The intellectual aggression towards morality in the diversity of the behavior and entertainment was highly regulated. However, to expose reality, the plays exploded the deep essence and meaning of specific behavior within the society. According to Irish culture that experienced different national identity, through theatre performance, cultural differences and ethnicity were critically addressed, assisting in manipulation steady fast understanding of the sense of belonging. The violence between the cultural perceptions of the audiences was well interpreted, providing a foundation for eighteenth-century theatre entertainment.

The John O'Brien Pantomime and entertainment induced a culture of competition through which public spheres were defined in the acting and stage performance. The progress and art provided excellent comprehension of the eighteenth-century commercial entertainment development. The traditional plays and the language flow regarding traditions also created a significant projection of the theatre performance due to the increase in the number of audiences attracted to the entertainment. The drama articulated about the imperial period in Britain that also criticized both governance and rules by the government. The political scrutiny was expressed through theatre performance, enlighten the audience on the political divergences.

The eighteenth-century drama is one of the performance that has taken different lines and restoration regarding the late seventeenth drama acting. The theatre integration has engaged various technology in the development of the structural and instrumental play of the poems, comedies as well as tragedies (McDonald, 532). Different scholars had explicitly focused on the integration and the contextual delivery incorporated in theatre drama. The construction of plays provided the conflictions on the gender, sexuality, marriage as well as imperial relations that created a renewed interest to sterilize the confliction that made the theatre intriguing more relevant to the audience.

Perhaps, the theatre integration and restoration took different dimension in revealing the political and ideologically sensitive issues within the society. For instance, through Laura Brown's induction of development of English drama, the conflicting problems of libertine spirit and that of radical republicanism were well-criticized ideologies, thus eliminating the rebelliousness. The discrimination that had existed within the classes of different statuses was also pro-addressed through drama. Therefore theatre performance did not only entertain but brought in the sense of the message in it as well as educating the audience.

The feminist perspectives were one of the approaches that were induced in play to invoke and portray the gender assertiveness within the community. Through Elizabeth Inchbald, it is clear that gender and cultural perception were expressed through play to instill a meaningful sense of feminism with societies (Campbell). The complexion of the entertainment in theatre critically meant to provoke the existing apartheid rules as well as roles in terms of gender. For that reason, the theatre performances have gone a series of integrations through the use of modern technologies as well as structural layout.

Works Cited

"Restoration and Eighteenth-Century Drama | British Literature Wiki". Sites.Udel.Edu, 2019, https://sites.udel.edu/britlitwiki/restoration-and-eighteenth-century-drama/.

Campbell, Jodi. Monarchy, Political Culture, and Drama in Seventeenth-Century Madrid: Theater of Negotiation. Routledge, 2016

Masten, Jeffrey. Textual intercourse: Collaboration, authorship, and sexualities in Renaissance drama. Cambridge University Press, 1997.

McDonald, Charles O. "Restoration comedy as the drama of satire: an investigation into seventeenth-century aesthetics." Studies in Philology 61.3 (1964): 522-544. Retrieved from https://www.jstor.org/stable/4173462?seq=1