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How are Neoclassicism and Romanticism portrayed in Theatre?
Neoclassicism in Theatre adhered to classical rules in Theatre, emphasizing reason and order. They took notes from the age of enlightenment, and focused on rational and moral guidelines. Romanticism emphasized the human condition, exploring morals and experiences more deeply. They commonly rejected the standards set by previous eras of Theatre in favor of newfound ideas. -
What is Neoclassicism and Romanticism?
Neoclassicism of the 17th century is art form that is refined and ordered, with strict discipline of such magnitude that was not seen before in art. The rigidness adds a powerful dynamic to the pieces that incoorperate it. Romanticism is similar to in in the artistic form, but adds a bit more imagination, as well as adding more narratives of love and adventure. -
Shakespeare: the Most Notorious 17th century Playwright
If you were to ask someone to name a playwright, chances are they would say "William Shakespeare". Known for some of the most iconic plays ever created, his influence has crossed centuries, with his plays still being performed today such as "Hamlet" (1601) and "A Midsommar's Nights Dream". "Romeo and Juliet", has been adapted into film many times, with several recent adaptations in this past year. His tales of Romance and dark drama encapsulate both Neoclassical and Romantic ideals. -
Ben Jonson: an Early 17th Century Playwright
Ben Jonson wrote some of the most influential plays of the early 1600s. His works were mostly comedies, but he dabbled in the dramatic at times. Some of his pieces include "The Alchemist" (1910), "Bartholomew Fayre" (1914), and "The Masque Of Blacknesse" (1905). -
Pierre Cornielle: the Father of Neoclassical Theatre
Born in 1606, Frenchman Pierre Cornielle is commonly known as the father of classical French tragedy. His first play, "Melite", was a comedy that quckly hurled him into stardom. He then pivoted, writing successful tragicomedies, and then full tragedies. His tragedies use many of the traits used in Neoclassical art, which gave him his nickname. He wrote his first full tragedy "Medee" in 1635, then wrote his most well known play titled "Le Cid" in 1637. -
Moliere: a French Prodigy
Moliere, born Jean-Baptiste Poquelin in roughly 1622 is widely regarded as one of the greatest French writers of the 17th century. Not only was he the best in playwriting, he was also a poet, director, and actor. He specialized in satirical comedies such as "Tartuffe," "The School for Wives," and "the Misanthrope". His works delve into emotional stories of relationships, occasionally romantic. His work is a masterclass in drama, and many playwrights today take notes from his work. -
"Le Cid"
"Le Cid", which translates to "The Master/Lord", was written in 1636 by Pierre Corneille. It is a riveting tale of the titular character. El Cid was a Spanish warrior whom many believe was a great asset when the Spanish conquered much of their land. This dark tragedy set that standard for serious dramas, and it is easy to see why many refer to is as a product of the Neoclassical movement. -
Jean Racine: A Mid-Century Visionary
Jean Racine lived a life of Neoclassicism and Romanticism. His early career was full of the love for theatre, becoming a successful playwright and poet. However, by 1677, he rejected theatre as a valid career path and isolated himself from his former life. His work "Phaedra" is a dramatic portrayal of the life of the King Theseus of Ancient Greece. -
"The Misanthrope"
Written in 1666 by Moliere, "The Misanthrope", is about a French Aristocrat who complains how corruption has ruined his once wonderful country. As we see, he constantly belittles and insults those around him, including his own lover. His attitude sets him up to be an unlikeable protagonist. His personality gets him into trouble althroughout the play, dealing with the human condition as he toys with the idea of self-isolation as a way to get away from his troubles. -
"Phaedra"
First performed in 1677, "Phaedra" tells the horrifying and dramatic story of Phaedra, and her love for her stepson. Her admission of her secret plunges her into a story of rage, fear, jealousy, and shame. The story if filled with a myriad of plot twists that hurl the play deeper into the chasm of despair.