drama

[سناء احمد]

Drama was introduced to England from Europe by the Romans, and auditoriums were constructed across the country for this purpose.
By the medieval period, the mummers' plays had developed, a form of early street theatre associated with the Morris dance, concentrating on themes such as
Saint George and the Dragon and Robin Hood. These were folk tales re-telling old stories, and the actors travelled from town to town performing these for their audiences in return for money and hospitality. The medieval mystery plays and morality plays, which dealt with Christian themes, were performed at religious festivals.

Contents [hide]
1 Renaissance and Elizabethan periods
2 17th and 18th centuries
3 Victorian era and later
4 See also
5 Notes
6 External links

[Renaissance and Elizabethan periods William Shakespeare, chief figure of the English Renaissance, is here seen in the Chandos portrait.
Aphra Behn was the first professional English woman playwright.The period known as the
English Renaissance, approximately 1500—1660, saw a flowering of the drama and all the arts. The most famous example of the morality play, Everyman, and the two candidates for the earliest comedy in English Nicholas Udall's Ralph Roister Doister and the anonymous Gammer Gurton's Needle, all belong to the 16th century.

During the reign of Elizabeth I in the late 16th and early 17th century,
a London-centred culture that was both courtly and popular
produced great poetry and drama. Perhaps the most famous playwright in the world, William Shakespeare from Stratford-upon-Avon, wrote plays that are still performed in theatres across the world to this day. He was himself an actor and deeply involved in the running of the theatre company that performed his plays. Other important playwrights of this period include
Christopher Marlowe, Ben Jonson, and John Webster. Various types of plays were popular. Ben Jonson, for example, was often engaged to write courtly masques, ornate plays where the actors wore masks. The three types that seem most often studied today are
the histories, the comedies, and the tragedies.
Most playwrights tended to specialise in one or another of these, but Shakespeare is remarkable in that he produced all three types. His 38 plays include tragedies such as Hamlet (1603), Othello (1604), and King Lear (1605); comedies such as A Midsummer Night's Dream (1594—96) and Twelfth Night (1602); and history plays such as Henry IV, part 1—2. Some have hypothesized that the English Renaissance paved the way for the sudden dominance of drama in English society, arguing that the questioning mode popular during this time was best served by the competing characters in the plays of the Elizabethan dramatists.

[17th and 18th centuriesDuring the Interregnum 1649—1660, English
theatres were kept closed by the Puritans for religious and ideological reasons. When the London theatres opened again with

the Restoration of the monarchy in 1660, they flourished under the personal interest and support of Charles II. Wide and socially mixed audiences were attracted by topical writing and by the introduction of the first professional actresses (in Shakespeare's time, all female roles had been played by boys). New genres of the Restoration were heroic drama, pathetic drama, and Restoration comedy. Notable heroic tragedies of this period include John Dryden's All for Love (1677) and Aureng-zebe (1675), and Thomas Otway's Venice Preserved (1682). The Restoration plays that have best retained the interest of producers and audiences today are the
comedies, such as George Etherege's The Man of Mode (1676), William Wycherley's The Country Wife (1676), John Vanbrugh's The Relapse (1696), and William Congreve's The Way of the World (1700). This period saw the first professional woman playwright, Aphra Behn, author of many comedies including The Rover (1677).
Restoration comedy is famous or notorious for its sexual explicitness, a quality encouraged by Charles II (1660–1685) personally and by the rakish aristocratic ethos of his court.

In the 18th century, the highbrow and provocative Restoration comedy lost favour, to be replaced by sentimental comedy, domestic tragedy such as George Lillo's The London Merchant (1731), and by an overwhelming interest in Italian opera. Popular entertainment became more dominant in this period than ever before. Fair-booth burlesque and musical entertainment, the ancestors of the English music hall, flourished at the expense of legitimate English drama. By the early 19th century, few English dramas were being written, except for closet drama, plays intended to be presented privately rather than on stage.

[ Victorian era and laterA change came in the Victorian era with a profusion on the London stage of farces, musical burlesques, extravaganzas and comic operas that competed with Shakespeare productions and serious drama by the likes of James Planché and Thomas William Robertson. In 1855, the German Reed Entertainments began a process of elevating the level of (formerly risqué) musical theatre in Britain that culminated in the famous series of comic operas by Gilbert and Sullivan and were followed by the 1890s with the first Edwardian musical comedies. W. S. Gilbert and Oscar Wilde were leading poets and dramatists of the late Victorian period.[1] Wilde's plays, in particular, stand apart from the many now forgotten plays of Victorian times and have a much closer relationship to those of the Edwardian dramatists such as Irishman George Bernard Shaw and Norwegian Henrik Ibsen.

[M.o_o.N]

super thank you sister

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[mezoo]

Thanx so much