Theatre Licensing Act of 1737--All plays must be approved by the Lord Chamberlain in advance--He can demand revisions or forbid the play entirely--This lasts until 1968--“Spoken drama” can only be produced at limiter number of “patent theatres”--During 18th century, at most three in London--Pieces with significant musical or non-narrative components can be produced elsewhere--Effects: emphasis on “safer” domestic plays, return to older plays (especially Shakespeare)Theatre Production in the 18th Century--Because of Theatre Licensing Act, limited competition between theatres--Continued rise of stars, actor manager system--Increasing emphasis on morality, emotion--Design: often elaborate sets and costumes which could be reused from production to productionSentimental Comedies--Also called “weeping comedies”--End happily (usually with marriage), not necessarily funny--Emphasize morality, triumph of good over evil--Characters often led astray but reform--Example: The Conscious Lovers by Richard Steele (1722)--Arranged marriages rejected in favor of love matches--Disparities in class fixed by discovery of young orphan’s true father“Laughing Comedy”--Generally comedy of manners; plays rely on humor--More similar to Restoration plays than sentimental comedies, but with greater focus on morality--Much less common—Richard Brinsley Sheridan and Oliver Goldsmith are two who attempt thisRichard Brinsley Sheridan (1751-1816)--Born in Ireland--Manager of Drury Lane Theatre for several years--NOT actor--Gradually handed over management as he became more invested in politics--Politician—Member of Parliament for 32 years--Whig
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