- •1. The drama after Shakespeare. Jacobean drama and theatre.
- •2. Ben Jonson and his plays. Volpone.
- •Volpone
- •3. Thomas Dekker and his plays. Old Fortunatus.
- •4. Thomas Heywood and his plays. A Woman Killed with Kindness.
- •5. Beaumont and Fletcher. The Knight of the Burning Pestle.
- •6. John Webster and his plays. The White Devil.
- •7. John Webster and his plays. The Duchess of Malfi.
- •8. Cyril Tourneur and his plays. The Revenger’s Tragedy.
- •9. Masque and music at the Stuart Court
- •10. Puritanism and its influence on English Literature.
- •11. The Restoration and Public Pleasures.
- •12. The Enlightenment and Neoclassicism
- •13. The Great Fire of London
- •14. Basic themes in Restoration comedy: the younger son, marriage and the matter of inheritance, money. Morality. Satire. The pamphlet.
- •15. The Physical Structure of the Restoration Theatre.
- •16. The Restoration Theatre, Audience, Actors.
- •17. The Restoration Comedy.
- •20. William Wycherley. The Country Wife.
- •21. William Congreve (1670-1729). The Way of the World (1700) – the masterpiece of Restoration drama.
- •22. High Tragedy and Pathetic Tragedy
- •23. Comedy of Manners
- •24. John Dryden and his plays. The Indian Queen.
- •25. Sir George Etherege and his plays. Man of Mode
- •26. Thomas Shadwell. Absalom and Achitophel
- •27. George Farquhar and his plays. The Beaux' Stratagem.
- •28. Sir John Vanbrugh and his plays. The Relapse (1696)
- •29. Drama in the early 19th century
- •30. Theatre Riots.
- •31. Early Victorian Drama and theatrical conditions.
- •32. Oscar Wilde and his literary contribution. Lady Windermere’s Fan
- •33. Oscar Wilde and his literary contribution. An Ideal Husband
- •34. Oscar Wilde and his literary contribution. The Importance of Being Ernest
- •35. Oscar Wilde and his literary contribution. A Woman of No Importance
- •36. George Bernard Show and his literary contribution. Pygmalion.
- •37. George Bernard Show and his literary contribution. Heartbreak House.
- •38. George Bernard Show and his literary contribution. Mrs. Warren’s Profession.
- •39. 19Th century theatre. Melodrama
- •40. The Well-Made Play
- •41. The Irish Renaissance
- •Irish Humour
- •Irish Blarney
- •42. John Millington Synge. Riders to the Sea.
- •43. John Millington Synge. The Tinkers Wedding.
- •44. John Millington Synge. The Playboy of the Western World.
- •45. Thomas Sterns Eliot. Murder in the Cathedral.
- •46. John Osborne. Look Back in Anger
- •47. John Galsworthy. The Silver Box
- •48. John Galsworthy. Strife
29. Drama in the early 19th century
Beginnings
When the century began, drama was at its lowest ebb.George III was that „old, mad, blind, despised and dying king”, that Shelley described, and his son became regent in 1812 before becoming George IV (1820-1830).He was liked no better than his father, and his brother, William IV (1830-1837), antagonized the politicians.It was quite a change when the young Victoria (1837-1901) became popular.She loved the theatre and, by the end of her reign, „the new drama” had emerged.
Drama in the early 19th century
For the first 15 years of the century, Britons were occupied with the Napoleonic War and with the heroic figures of Nelson and Wellington.But the great urban centres had so grown that widespread poverty arose after the war; authorities severely repressed the workers.It was only after the Reform Act of 1832 that prosperity increased and civil war was averted.
Theatrical conditions
The patent theatres both burned down and were rebuilt on a massive scale:Drury Lane (1812) had a capacity of over 3200 while Covent Garden (1809) held slightly less. Their huge size coarsened acting; performers had to indulge in rant (szavalás) and bombast (fellengzős) to be effective over large distances. The large auditoriums also encouraged physical extravagance in plots and scenic effects; thus tastes coarsened, too.
Patent theatres
The patent theatres were the theatres that were licensed to perform "spoken drama" after the English Restoration of Charles II in 1660. Other theatres were prohibited from performing such "serious" drama, but were permitted to show comedy, pantomime or melodrama. Drama was also interspersed with singing or dancing, to prevent the whole being too serious or dramatic. The Lyceum introduced gas lighting early in the century, followed by the patent theatres in 1817Gas lighting was flexible and easier to control: light could increase or fade quickly or slowly; various areas of the stage could be lit independently; and the soft radiance of gas created a fantasy world of compelling conviction. Limelight was invented in 1825 and steadily came into general use. Limelight gave an intense white light with a greenish hue. Held by a technician high up in the gallery, its brilliant circle of light followed the leading performer around the stage. The limelight was unreliable and dangerous but was used for generations; only in the twentieth century was it slowly phased out as modern electric lanterns became more effective. Traditions of great scene painting evolved: the Grieve family began its work at Covent Garden; and William Telbin worked at the Lyceum before moving to Covent Garden (1840).The increased size of London led to a greater audience. Smaller theatres sprang up. There were amphitheatres in Whitechapel, Shoreditch, and elsewhere. South of the Thames, the Royal Circus became the Surrey Theatre (1810), and the Coburg (1816) changed its name to the Royal Victoria in 1833. In inner London, in addition to the patent houses, there were the Lyceum, The Olympic (1806), the Strand (1832), and the St. James’ (1835).