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Neoclassical Era

Neoclassical Era. Transitions from Baroque to Romanticism. Neoclassical. Neo Classical means “New Classical” It is a return the classical influences of Greek and Roman cultures It is a response to the extravagance and ornamentation of the Baroque period.

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Neoclassical Era

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  1. Neoclassical Era Transitions from Baroque to Romanticism

  2. Neoclassical Neo Classical means “New Classical” It is a return the classical influences of Greek and Roman cultures It is a response to the extravagance and ornamentation of the Baroque period. Reflected a return to order, reason, structure and clarity in the arts.

  3. Neoclassical Drama • Began in France • At the beginning part of the 17th century French drama was very similar to court ballet in its mixture of genres. • Featured extravagant and complicated plots • Often were extremely long

  4. Eventually theoreticians and practitioners of the theatre reacted against the exuberance. They attempted to bring order to Drama in the same fashion that the Absolute Monarchy of Louis XIV brought to the government. French writers formulated a set of “rules” they felt were present in Greek and Roman literature, that all writers needed to adhere to in order to create “good” work.

  5. These rules were accepted by the French Academy The French Academy was essentially in charge of unifying the French language. They put together dictionaries, treatises on grammar and other writings. They accepted the rules presented about Drama. These rules came to be known as THE UNITIES

  6. The Unities of Drama These rules were developed for Tragedy, but they were also applied to Comedy as well. These rules were an attempt to make theatre more believable.

  7. Unity of Time Unity of time dictates how long the action of the play is, not the length itself. If the audience is in the theatre for a couple of hours then the action of the play should span a couple of hours. In rare occurrences the action was permitted to span a 24 hour period.

  8. Unity of Place Unity of Place rules where the action of the play can occur. Again the thought was that since the audience was in one location for the duration of the play then the action of the play itself should be in one location. Writers felt that this was more logical than multiple settings and locations.

  9. Unity of Action The rules governing action covered essentially what the story could be about. One main storyline could be presented. No sub plots or side stories were permitted.

  10. Unity of Tone Tragedy and Comedy could not appear in the same play. Characters of Tragedy were to be of noble birth, and would speak in a dignified manner. No vulgar realism or violence would occur on stage- if such events were necessary they would happen off stage and a messenger would convey the details to actors and audience.

  11. Unity of Tone (continued) Characters and plots could not be contemporary. They needed to be far away in time or space. Most Neoclassical Tragedy’s were based on Greek and Roman history or Mythology Even then Tragedies were expected to follow the rules of VERISIMILITUDE- the appearance or semblance of truth Plays could not be fantasies. They would need to seem that they could actually happen.

  12. Discussion: Would William Shakespeare’s “A Midsummer Night’s Dream” fit the rules of Neoclassical Drama? Why or Why not?

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