Theater in the Restoration era (1660-1700) was an era of tremendous change, marked by the reopening of theaters after decades of closure due to the Interregnum. The period brought new ideas and innovations in every aspect of theater production, from the shift in literary style to architectural changes and the development of new genre types.
The Restoration theater was marked by wit and humor, often addressing taboo subjects, a stark contrast to the earlier Jacobean and Caroline eras. It reflected a more open society, replete with hedonism and libertinism, after the puritanical reign of Oliver Cromwell.
The New Genre of Comedy
The Restoration era heralded a new form of comedy epitomized by the works of William Wycherley, George Etherege, and William Congreve. This comedy of manners primarily focused on relationships, power, and social class among the upper class.
It often revolved around marriage, seduction, and infidelity, raising eyebrows but unafraid to tackle even controversial topics. A prime example is Wycherley's "The Country Wife," which explores themes of virility, power, and celibacy.
Use of Double Entendre
Double entendre, the use of words and phrases with two possible meanings, was a characteristic feature of Restoration comedy. It added depth and humor to the plays, allowing for coded expressions of sexual innuendo that slipped past censors.
For instance, in Etherege's "The Man of Mode," the character Dorimant's famous question "Who would not be a soldier?" is loaded with sexual undertones, hinting at the reward he receives for his 'services.'
Role of the Chase ✨
The chase, a core element of Restoration comedies, involves the pursuit of erotic pleasure and the obsessive pursuit of women. It reflects the era's cultural values and sexual freedom, often critiquing power dynamics and social expectations of men and women.
In Congreve's "Love for Love," the character Captain Region is an embodiment of this chasing man, desperate to seduce women to boost his ego and assert his masculine power.
Architectural Innovations
The reopening of theaters brought about significant architectural changes. Earlier theaters were often temporary structures, but now they became permanent, purpose-built venues.
One such development was the introduction of the proscenium arch. Before this, performances were held in open squares or in-public spaces, with actors performing in all directions. The arch marked a shift towards a more focused and centralized audience experience.
The Pinch-Point Stage
The stage became narrower and deeper, known as the "pinch point" stage. This design concentrated the audience's attention on the central action and allowed for more elaborate scenic effects and spectacle.
An example is the Theatre Royal in Drury Lane, opened in 1663, which employed this design. It was also one of the first to introduce a gridiron above the stage for flying machines and stage effects.
The Importance of Scenic Effects
Scene changes became more frequent and elaborate, supported by improved lighting techniques. Gunfire, thunder, and magnesium for ‘starbursts’ were among the stunning effects that wowed audiences.
These innovations transformed the spectatorial experience, integrating visual spectaculars with the text and performance, and thereby elevating the status of theater as a form of art.
The Restoration era, thus, signals a pivotal moment in the history of Western theater. It brought in new forms of expression, a shift in the role and perception of theaters, and a more open engagement with societal norms. As the curtain fell on this era, Western theater was left with an indelible legacy that continues to reverberate today. Today, embracing this legacy, we continue to experiment, innovate, and challenge societal norms in our theaters, keeping the spirit of the Restoration alive.