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An 18th-century Neoclassical theatre in Ostankino, Moscow. Neoclassicism was the dominant form of theatre in the 18th century. It demanded decorum and rigorous adherence to the classical unities. Neoclassical theatre as well as the time period is characterized by its grandiosity.
French theatre became full of "pieces de circonstance," or "works of social circumstances," particularly where the events of the military were concerned. [10] For example, in December 1793, a member of the Committee of Public Safety , Bertrand Barère , demanded that playwrights create work about the French capture of Toulon .
The 18th century French theatre flourished with influential playwrights such as Voltaire, known for works such as Œdipe (1718) and Zaïre (1732), and Marivaux, whose comedies explored the complexities of love, while Denis Diderot introduced the Bourgeois tragedy, and Beaumarchais revolutionized comedy with Le Barbier de Séville (1775) and Le ...
18th-century dramatists and playwrights (1 C, 16 P) S. ... Pages in category "18th-century theatre" The following 17 pages are in this category, out of 17 total.
By the 18th century, the most popular forms of musical theatre in Britain were ballad operas, like John Gay's The Beggar's Opera (1728), that included lyrics written to the tunes of popular songs of the day (often spoofing opera), and later the developing form of pantomime and comic operas with original scores and mostly romantic plot lines ...
Commedia dell'arte [a] was an early form of professional theatre, originating from Italian theatre, that was popular throughout Europe between the 16th and 18th centuries. [ 4 ] [ 5 ] It was formerly called Italian comedy in English and is also known as commedia alla maschera , commedia improvviso , and commedia dell'arte all'improvviso . [ 6 ]
The solution involved forced perspective, a technique more common in 18th-century theater. Working with set designer Richard Hudson, they came up with cutouts of little wildebeests on a system of ...
Using 18th century police records, Ravel argues that disorderliness in the pit demonstrates the critical nature of parterre audiences, who were not merely responding to performances and the social activates around them, but were undermining the very authority of the court, who remained, at the same time, the patrons of France's "privileged ...