Free Restoration comedy Essays and Papers

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    The Impact of Restoration Comedy on Theatre Shortly after the glory days of Elizabethan and Jacobean theatre, a Puritanical movement led by Oliver Cromwell gained control of Parliament. Cromwell ethics did not extend to cover the moral extravagance of theatre. Under the guise of public health and safety, Parliament ordered the closing of all theatres on September 2, 1642. Such dirty public areas were the perfect breeding ground for the spreading of plague. Actors were left with two options,

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    1. The best-known Restoration comedy were comedy of manners. According to the book, “comedy of manners usually deals with the upper class in a given society. It stresses verbal humor, repartee, and irony.” A popular movie that comes to mind when I think about comedy of manners is Mean Girls. The main character, Cady Heron (Lindsay Lohan), moves to Evanston, Illinois after living in Africa for twelve years. She meets two classmates, Damian Leigh (Daniel Franzese) and Janis Ian (Lizzy Caplan). They

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    Modern Productions of 18th Century Plays

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    November 2003]. Available world wide web: (http://www.nytheatre.com/nytheatre/beggar.htm) 9[9] Addison, Joseph. “The Spectator, No. 47.” In Restoration and Eighteenth-Century Comedy, edited by Scott McMillin. New York: W.W. Norton & Company, Inc., 1997. 10[10] Dennis, John. “The Usefulness of the Stage.” In Restoration and Eighteenth-Century Comedy, edited by Scott McMillin. New York: W.W. Norton & Company, Inc., 1997.

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    the male protagonist of Charlotte Bronte’s Jane Eyre embodies a number of different roles of masculinity. One of the least recognized but very influential roles played by Rochester is the rake. The idea of the "rake" is commonly related to the Restoration period in England; yet this figure does not completely disappear during the eighteenth and nineteenth centuries. Historical figures such as John Wilmot the second Earl of Rochester are described as leading rakish lifestyles. Literature and Art also

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    The Restoration period is also known as the Age of Dryden, because Dryden was the dominating and most representative literary figure of the Age. During the restoration, King Charles II was restored to the throne, which marked the beginning of a new epoch in English literature. The Restoration of King Charles II brought about a revolutionary change in life and literature. During this period gravity, moral earnestness and decorum in all things, which distinguished the Puritan period, were forgotten;

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    a new kind of comedy, the comedy of manners exploded onto the English drama scene and remained the preferred style of theater for the rest of the century. The aim of these plays was to mock society, or rather to hold it up for scrutiny by those very people whose social world was being characterized on stage. The Way of the World reflects Congreve's personal view of Restoration society and city life, full of its artificiality, rigidity, and formality. As is typical of Restoration Theater, this

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    is considered to be the best play written by George Farquhar. Jonne C. Thornton exclaimed, “The Beaux Stratagem is the epitome of Restoration comedy” (4). Unlike its contemporaries, Farquhar uses more theatrical devices, sub-plots, characters, and surprises in the play (Thornton 4). Farquhar has a unique sense of play structure causing a combination of carefree comedy with serious underlying social problems. A social problem that is the main theme in the play is the acceptance of divorce. He is able

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    Restoration Era Essay

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    The Restoration Era is a time of rejoicing, change, and revising. Many occurances that take place during this time period bring upon change to ideals and values of the culture in England. Events take place that start or allow for change in the ways of life among the people of England. These changes effect the theater and literature of the time period as well. Plays, poems, essays, and other forms of literature all return with new aspects and strategies. One play in particular, All for Love by John

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    The Restoration Period, lasting from roughly 1660 until 1710, was a time of renewed interest in the theatre due to European monarch Charles II’s revival of the theatrical scene in England, Scotland and Ireland. While the Restoration Period is a broad term coined for the renewal of the English monarchies and leaders in these areas, Restoration theatre, and more specifically a comedic style of theatre that came to prominence with explicit content known as Restoration Comedy, were important aspects

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    The Restoration comedy The Country Wife, by William Wycherley, published in 1675 demonstrates types of plays in the restoration period that were bawdy and sexual. It is in this play that certain characters are used to represent the genre of comedy of manners. Through the characters in the play such as Horner, Mrs. Pinch-wife and Lady Fidget and the constant reference to the comedy of manners, it is evident that there are many links between the playwright and restoration period. As the play originated

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    essay

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    audiences were no longer just the nobles of the upper-class. The audience now ranged from upper-class to the lower-class each paying to see a play that now had women who played women's parts. In Elizabethan theater, boys played women's parts. In Restoration theater, women played women's parts as well as playing men's parts. Some scenes required dressing like a man, such as when Margery (the country girl) dressed as a man in order to fool the rake into believing she was her husband's brother. The Country

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    rake became one of the most recognized figures of the Restoration Comedies. The rake character was seen as unmarried, cynical, coarse but with the manners of a gentleman, manipulative and self serving. By the twentieth century the rake had given away to the Regency dandy and the dark Byronic hero of Victorian literature. However, the rake does not completely disappear from twentieth century novels. Charlotte Bronte resurrects the Restoration hero in the creation of Edward Rochester in Jane Eyre.

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    The Restoration of 1660 not only brought the English monarchy back to the throne, but brought plays back to the nation’s previously shuttered theaters. In fact, though, this “restoration” promised to be more of a revolution. Bold new practices were put in motion. Rather than proceeding cautiously, to avoid upsetting Parliament or religious groups, playwrights embraced controversial, even scandalous topics, rewriting practices, challenging social taboos and even pushing past boundaries set down by

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    Technical Theater During the Restoration Lighting and Scenic Design England 1660-1800 The Restoration in England was an era ripe for the development of new ideas in the arts. The return of the Stuart monarchy under Charles II marked the end of eighteen years of almost dictatorial control by Oliver Cromwell and his Puritan parliament. Cromwell had campaigned actively to halt all theatrical activity. In the end, however, his laws were actually responsible for helping move England forward in theatrical

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    “The dramas laws the dramas patrons give” illustrates the relationship between theatre and the people of the Restoration period (Elwin 5). As theatre of this era sheds light on the newly changing social normal and self-identification the reaction of the audience sheds insight back onto theatre itself. The concept of sex and sexuality is confronted and analyzed as women take the stage for the first time. The rapidly changing constructs of women are illustrated on stage and is widely received by rowdy

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    The Causes of the Showa Restoration Sonno joi, "Restore the Emperor and expel the Barbarians," was the battle cry that ushered in the Showa Restoration in Japan during the 1930's.Footnote1 The Showa Restoration was a combination of Japanese nationalism, Japanese expansionism, and Japanese militarism all carried out in the name of the Showa Emperor, Hirohito. Unlike the Meiji Restoration, the Showa Restoration was not a resurrection of the Emperor's powerFootnote2, instead it was aimed at

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    Obadiah's Oracle Against Edom

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    Yahweh Himself is severe and without hope for future restoration of this people. Edom¡¦s crime and reason for judgement is explained by Obadiah in this sense, ¡§you stood by on the day of your brother¡¦s captivity; and rejoiced over the children of Judah in the day of their destruction .¡¨ Edom has displeased God by their consistent violence and hatred for their brother Jacob. Now Yahweh¡¦s judgement is passed, and there is no hope of restoration. This seems very contrary to the promise God gave Abraham

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    Robert Elliot's Faking Nature

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    philosophical rejections of the ground of restoration ecology ever offered. Here, and in a succession of papers defending the original essay, Elliot argued that ecological restoration was akin to art forgery. Just as a copied art work could not reproduce the value of the original, restored nature could not reproduce the value of nature. I reject Elliot's art forgery analogy, and argue that his paper provides grounds for distinguishing between two forms of restoration that must be given separate normative

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    “The Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson”, arguably the most famous captivity tale of the American Indian-English genre, is considered a common illustration of the thematic style and purpose of the English captivity narrative. As “the captivity genre leant itself to nationalist agendas” (Snader 66), Rowlandson’s narrative seems to echo other captivity narratives in its bias in favor of English colonial power. Rowlandson’s tale is easy propaganda; her depiction of Native

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    The Santa Monica Bay Restoration Pollution is a worldwide catastrophe that contaminates or destroys every living and non-living thing in its path. The earth is designed to constantly balance itself allowing plant and animal life the ability to thrive. Unfortunately when bombarded with chemicals, heavy metals and unnatural human waste, the earth exceeds its critical load and irreversible damage occurs. There are literally thousands of areas that have been negatively effected by the numerous types

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