17th Century Theatre: Evolution, Genres, and National Stages
17th Century Theatre
Theatre’s Expanding Social Role
Theatre in the 17th century gained prominence, reflecting broader social changes. Humanistic ideals and dialogue, exemplified by Don Quixote and its critique of chivalric romances, shaped the era’s cultural landscape. Unlike picaresque narratives, theatre focused on ordinary characters in everyday settings, exploring various genres and incorporating audience interaction, particularly in the second part of Cervantes’ masterpiece.
Evolution from Medieval Influences
Theatre evolved from its medieval ties to courtly events, street performances, and religious celebrations. A burgeoning bourgeois demand led to the integration of elements from all social classes, fostering the development of dedicated theatrical spaces.
Rise of National Theatres
National theatres emerged in England, Spain, and France, drawing inspiration from Italian traveling companies, set designs, and the nascent opera. The Commedia dell’arte, originating in Italy, gained European popularity, reaching its peak in the 18th century.
16th Century Prototypes of Theatrical Spaces
Humanistic Model
This theoretical model, inspired by classical designs, featured a tiered semicircular structure with a stage presenting a perspectival street scene. Examples include Palladio’s Olympic Theatre in Vicenza and the Palatine Theatre of Parma.
Common Spaces
- Closed Venues: In France and England, spaces originally used for ball games were repurposed. In England, deconsecrated religious spaces were also adapted.
- Open Structures: Common in Spanish and English theatre, these spaces featured seating, galleries, and a stage at one end. A curtained area called the Tiring House provided a space for dramatic reveals.
National Theatre as Propaganda and Performance
National theatres served as tools of political and religious propaganda. The emphasis was on verbal performance, driven by:
- Focus on Language: Creating situations that drew attention to the spoken word, particularly prominent in French theatre where events were recounted rather than staged.
English and French plays enjoyed royal patronage, while Spanish theatre relied on actors and actresses. English and French plays were written in verse (blank verse in England, Alexandrine couplets in France), while Spanish plays used an eight-syllable rhythm, leading to stanzas or heroic verse. Following Lope de Vega’s model, Spanish plays typically had three acts, contrasting with the longer English and French structures. Spanish theatre emphasized character stereotypes, while English and French theatre explored psychological development. French tragedies often narrated events, while English and Spanish theatre presented the action on stage, disregarding classical unities of time and space.