Restoration Theatre/Drama : During Restoration Age ,History of English Literature, comedy of manners


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Through this video, we have told that what was the condition of heater during the restoration period and what is the difference between Elizabethan Theater and Registration Theatre Aloog with this, we have also told about King Charles One of England and his son Charles 2, how Charles 2 improved the conditions of England when the Puritans were oppressing the people.

The Restoration period refers to the time following the restoration of the English, Scottish and Irish monarchies under King Charles II in 1660. While the exact dates differ depending on context, for Restoration drama it is often seen as continuing through until 1710, during the reign of Queen Anne.

It was an important time for drama, as the theatres were reopened in 1660 after being closed under the Puritans for 18 years. This also marked the start of women performing on the English stage. The Restoration plays that followed often rebelled against the puritanical standards, featuring lavish design and risqué humour.

Famous comedies from the era include William Wycherley's The Country Wife (1675), Aphra Behn's The Rover (1677) and George Farquhar's The Recruiting Officer (1706). Well-known Restoration tragedies include Roger Boyle's The Black Prince (1667) and Thomas Otway's Venice Preserv'd (1682).

The Puritans condemned the theatre as immoral: This led to the closure of the theatres and actors were liable to be prosecuted as rogues. Now with the restoration, the theatres were also revived. When Charles II was restored to the throne, petitions were made for the reopening of the theatres. On 21 August 1660, Charles issued a patent to Thomas Kill grew and Sir William D. Aveannt permitting them to form two Companies of - players. One company was called the king's players and acted at the Theatre Royal, Drury Lane; the other was called the Duke of York's Players, for whom a new theatre was built in Lincoln's Inn Fields. The revived theatres differed in several important respects from the Elizabethan theatre. The whole playhouse was now roofed in, and the stage illuminated with candles: there were footlights, a drop curtain and painted scenery. Women's parts were no longer taken by well-trained boys, but by women actresses themselves. Men came to see the actress as much as the play. Nell Gwynne's charm and beauty counted more than her acting skill. For many years there was one theater open in London, the Theatre Royal, at. Drury Lane. There were no permanent theatres in other parts of England. Touring theatres were few and bad. Acting was not a national pastime. Even in London it appealed to the court and the fashionables of the Town. Restoration drama reflects a hard disbelief in virtue. But we should not misconstrue that England, as a whole was rotten. The courtiers and politicians were mean. All forms of virtue were laughed at as hypocrisy. However, it should be remembered that there were numerous puritan ministers who endured anything for conscience's sake. The king himself and the younger generation of the aristocracy had been demoralized by the breakup of their education and family life, by exile and consecration leading to the mean shifts of sudden poverty, by the injustice done to them in the name of religion, by the constant spectacle of oaths and covenants. These got reflected in the Restoration drama. e.g. Wycherley's "Country Wife= - The hero, by pretending to be a eunuch, secured admission to privacies which enabled him to seduce women. One is expected to admire his character and procedure. However, the restored theatres were adorned by the poetic genius of Dryden's dramas and the musical genius of Purcell. Shakespeare and Ben Johnson's plays were revived, and Wycherely's coarseness disappeared. A new English comedy by Congreve and Farquhar surfaced and achieved success. Though the Wycherley period of the English state did not last long, it had done a permanent harm, A hostile attitudinal drama developed among decent minded people and the Church, Till late in the 19 th century youngsters were not allowed to visit theatres. The serious part of the nation did not take drama seriously