MAE603-eL6

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IDOL Institute of Distance and Online Learning M.A 2 All right are reserved with CU-IDOL English Course Code: MAE 603 Semester: First Book ID: ………… Unit: 6 www.cuidol.in Unit-6 MAE 603

IDOL ENGLISH Institute of Distance and Online Learning 33 OBJECTIVES INTRODUCTION Student will be introduced to the history of 17th In this unit we are going to learn about the Century Theatre historic aspect of 17th century drama Student will be introduced to the characteristics of The student will be able to understand 17th century Drama features of dramas of 17th century Student will be able to some of the major Student will be able to understand the age dramatists of the 17th Century www.cuidol.in Unit-6 MAEQ610031) INASlTl ITriUgThEt OarFeDrIeSsTeArNvCeEd AwNitDh OCNUL-IIDNOE LLEARNING

IDOL TOPICS TO BE COVERED Institute of Distance and Online Learning 4 > !7th Century Literature History, particularly drama > Characteristics of the 17th Century drama > Major dramatists of the 17th century www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 5 The course is a survey of English drama in the 17th century. It presents the most important playwrights and the most popular dramatic genres of this period, such as a city comedy, a tragicomedy, a revenge tragedy, and later a Restoration comedy and a heroic drama. Apart from these typically dramatic genres, the course also examines examples of courtly masque, that some critics call proto-dramatic, rather than strictly dramatic texts. The chosen plays and masques are analysed in broader artistic, social and political context of the seventeenth century. Thus, apart from text analysis the course’s aim is to give insight into the functioning of London playhouses and theatrical companies in the Jacobean and then Restoration London, with the growing popularity of children companies, and later the introduction of actresses. It discusses the practice of artistic collaboration of the major playwrights, or, in case of masques, the fruitful though stormy collaboration of the playwright Ben Jonson with the great architect and designer Inigo Jones. Th course also presents instances of the royal censure or “disapproval” of some texts (e.g. Eastward Ho or The Pleasure Reconciled to Virtue) , as well as the Puritan attacks resulting in closing of the theatres in 1642. www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 6 The Court Masque:- The most lavish 17th-century productions were not open to the public. King James I (reigned 1603–25) and later his son Charles I (reigned 1625–49) commissioned spectacular private performances called 'masques' which involved music, dance, opulent costumes and extraordinary scenery and special effects. They were performed once or twice at one of the royal palaces and were only seen by members of the court. Such lavish court entertainments were fashionable throughout Europe as an expression of princely power. www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 7 Masques were often used to celebrate royal occasions such as a wedding or birth. Design and visual symbols played an important role in masques which called for lavish costumes and sets. Nobles and royalty would take part, often playing gods or heroes while the other roles were played by professional actors. Court entertainments were far more opulent than those of the public playhouses, but professional actors and writers crossed over between both. Masque-like elements began to be included in popular plays. There are masque scenes in Thomas Kyd's 'The Spanish Tragedy' and Shakespeare's 'Cymbeline' and 'The Tempest'. Ben Jonson wrote masques for the court as well as drama for the public playhouses. www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning Inigo Jones (1573 - 1652):- 8 Inigo Jones introduced the proscenium arch and moveable scenery arranged in perspective into British theatre. While travelling in France and Italy he had been impressed and inspired by the use of stage machinery and scenic invention. Under James I and Charles I he collaborated with the writer Ben Jonson on a series of masques and elaborate court productions that cost a fortune. Inigo Jones's scenery used a series of shutters that slid in and out using grooves in the floor. He even flew in scenery from above and introduced coloured lighting by placing candles behind tinted glass. After a series of successful collaborations Ben Jonson and Inigo Jones quarrelled. Jonson accused Jones of ensuring that the scenic changes and transformations had more predominance in the masque than his poetry. Indeed 'The Masque of Oberon' in 1611 cost over £2000 and the costumes alone cost over £1000. Jonson received £40 for writing the script. Inigo Jones went on to design theatre buildings. In 1619 he transformed the Banqueting House at Whitehall into a theatre and in 1629 built the Cockpit at Court. www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 9 The Closure of the Theatres:- In 1642 civil war broke out in England and theatres were closed to prevent public disorder. The theatres remained closed for 18 years, causing considerable hardship to professional theatre performers, managers and writers. Illegal performances were only sporadic and many public theatres were demolished. The Puritans, led by Oliver Cromwell, opposed theatrical performances and were at loggerheads with King Charles I who promoted theatre at his court. In 1632 William Prynne had lost his ear for denouncing dancing as a 'Devil's Mass' and women actors as 'notorious whores' in his book Histriomastix. This was seen as a personal attack on Queen Henrietta Maria who loved the theatre and often performed in masques. www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 10 However, Oliver Cromwell and the Puritans were less censorious about musical entertainment and tolerated occasional small-scale masques as the unavoidable trappings of government. In 1656, William Davenant succeeded in producing 'The Siege of Rhodes' in his home in an all-sung version. He staged it with moveable scenery arranged in perspective, which was to prove highly influential. According to legend, Davenant was the illegitimate son of William Shakespeare. He contributed to the last of the Stuart masques and was a fervent Royalist. After Charles II was restored to the throne in 1660, Davenant and Thomas Killigrew were granted royal patents, which gave them virtual monopoly over presenting drama in London. These monopolies were not revoked until the 19th century. www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 11 The Puritans, led by Oliver Cromwell, opposed theatrical performances and were at loggerheads with King Charles I who promoted theatre at his court. In 1632 William Prynne had lost his ear for denouncing dancing as a 'Devil's Mass' and women actors as 'notorious whores' in his book Histriomastix. This was seen as a personal attack on Queen Henrietta Maria who loved the theatre and often performed in masques. However, Oliver Cromwell and the Puritans were less censorious about musical entertainment and tolerated occasional small-scale masques as the unavoidable trappings of government. In 1656, William Davenant succeeded in producing 'The Siege of Rhodes' in his home in an all-sung version. He staged it with moveable scenery arranged in perspective, which was to prove highly influential. www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 12 According to legend, Davenant was the illegitimate son of William Shakespeare. He contributed to the last of the Stuart masques and was a fervent Royalist. After Charles II was restored to the throne in 1660, Davenant and Thomas Killigrew were granted royal patents, which gave them virtual monopoly over presenting drama in London. These monopolies were not revoked until the 19th century. Davenant opened the Duke's Theatre where he presented adaptations of Shakespeare's plays with music, forerunners of the semi-operas of Purcell. Most scholars consider that Davenant's 'The Siege of Rhodes' was the first English opera. It was performed in 1656 at Rutland House in London. Davenant wrote the text but the score was the work of several different musicians. At this time, the theatres were closed and plays forbidden by law, although music was still played. It is possible that the entertainment was rather a way of getting round the law than an attempt to write a true opera. This engraving depicts the 'Duke's House' (later Duke's Theatre) where the Duke of York's players performed from 1661. It was originally a tennis court, built in Lincoln's Inn Fields, which Sir William Davenant converted into a performance space. www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 13 It was at the Duke's Theatre that the first 'scenic' production of 'Hamlet' was staged, with Thomas Betterton as the Prince. The picture gives us an idea of the interior of the theatre. A large, richly decorated proscenium frames the stage. Above is a small room with a curtained opening, presumably used by the musicians. The actors are shown performing the 'The Empress of Morocco', presented at that theatre in 1673Restoration Drama www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 14 The term 'Restoration' refers to the period following the restoration of Charles II to the throne of the United Kingdom in 1660. The introduction of scenery and elaborate stage machinery to the English public stage in the 1660s gave rise to blockbusting semi-operas. Many of these were adaptations of other plays, often by Shakespeare. These had episodes of music, singing, dancing and special effects. They even had transformation scenes. The 1674 production of 'The Tempest' had many spectacular scenes including a storm. www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 15 The advances in scene design impacted on the design of theatre buildings, and behind the thrust stage a scenic stage was added, framed by a proscenium arch. The Duke's Theatre in Dorset Garden was planned by William Davenant and designed by Christopher Wren, the architect of St Paul's Cathedral. It cost £9000 (about £600,000 today) paid for by 'adventurers' (we would call them backers). It stood by the River Thames and steps led up from the river for those patrons arriving by boat. The theatre was the grandest ever seen in Britain up to that time, with an elaborate proscenium arch, one of the first in London. Over the theatre were flats, where Thomas Betterton, the leading actor of the late 17th century and director of the acting company, lived. www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 16 Restoration dramatists:- Audiences had a preference for Restoration comedy and heroic tragedy in addition to plays by Jonson, Beaumont and Fletcher and Shakespeare. Restoration dramatists include William Wycherley, George Etherege, Thomas Otway, William Congreve and George Farquhar. The double standards of courtiers and members of the aristocracy were reflected in Restoration drama's obsession with social behaviour. Powerful and well-mannered characters were often portrayed as corrupt and sexually promiscuous. www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 17 Women writers:- The Restoration period also saw women become recognised as professional playwrights. The most famous of these was Aphra Behn. A group of women writers known as The Female Wits produced many works for the stage. They included Mary Pix, Catherine Trotter and the prolific Susannah Centlivre who wrote 19 plays including 'A Bold Stroke for a Wife' www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 18 Q—What were the characteristics of the 17th century drama? A—Wit and humour B—Wit, humour and courtly love C—comedies of wit, humour and upper class love-affairs D—It was a failure www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL British Drama History—17th Century Institute of Distance and Online Learning 19 Q—What is the meaning of Restoration Age? A—Theatres were reopened in 1660 B—Theatres were closed in 1660 C—Dramas were performed without theatres D—Dramas were read www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL References Institute of Distance and Online Learning 20 1. Leech, C. (1978). Marlowe: A Collection of Critical Essays (Twentieth Century Views Series). New Delhi: Prentice Hall India 2. O’Neill, J. (1969). Critics on Marlowe. London: Allen & Unwin 3. Sharma, G. ed. (1984). Reinterpretations of Marlowe’s Faustus: A Collection of Critical Essays. New Delhi: Doaba House 4. Bradley, A.C. (2009). Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth. New Delhi: Dodo Press 5. Kaufmann, R.J. (1970). Elizabethan Drama: Modern Essays in Criticism. Oxford: Oxford University Press 6. Harbage, A. (2005). Shakespeare: The Tragedies: A Collection of Critical Essays. New Delhi: Pearson 7. Adelman, .t ed. (1980). Twentieth Century Interpretations of King Lear. New Delhi: Prentice-Hall India 8. Morwood, J. & Crane, D. , Ed. (1996). Sheridan Studies. Cambridge: Cambridge University Press 9. Chaudhary, A.D. (2010). Contemporary British Drama. India : Penguin Books. 10. en.wikipedia.org › wiki › Drama 11. study.com › academy › lesson › history-of-drama-dramatic-movements 12. en.wikipedia.org › wiki › History_of_theatre 13. englishhistory.net › shakespeare › elizabethan-theatre www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL

IDOL Institute of Distance and Online Learning 21 THANK YOU For queries Email: [email protected] www.cuidol.in Unit-6 MAE 603 All right are reserved with CU-IDOL