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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 ...
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 .
Theatres completed in the 18th century (63 C, 2 P) Pages in category "18th-century theatre" The following 17 pages are in this category, out of 17 total.
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.
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 ...
There are a few examples of tragic plays with middle-class protagonists from 17th century England (see domestic tragedy), but only in the 18th century did the general attitude change. The first true bourgeois tragedy was an English play: George Lillo 's The London Merchant ; or, the History of George Barnwell , which was first performed in 1731.
The theater of the 18th century also introduced two new genres, now considered minor, which both strongly influenced the French theater in the following century; the "Comedy of Tears" (comédie larmoyante) and the bourgeois drama (drame bourgeois) which told stories full of pathos in a realistic setting, and which concerned the lives of ...
Betterton played every great male part there was from 1660 into the 18th century. After watching Hamlet in 1661, Pepys reports in his diary that the young beginner Betterton "did the prince's part beyond imagination." Such expressive performances seem to have attracted playgoers as magnetically, as did the novelty of seeing women on the stage.