British Drama: Restoration Comedy, Augustan Drama, Restoration Spectacular, Comedy of Menace, Characteristics of Harold Pinter's Work

Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 52. Chapters: After the End, Augustan drama, A Miracle, British Academy Television Award for Best Drama Series, Characteristics of Harold Pinter's work, Comedy of menace, Dance and Drama Awards, Edward Knight (King's Men), Essay of Dramatick Poesie, Faces in the Crowd (play), Five Kinds of Silence, George Jolly, Henry Herbert (Master of the Revels), Histriomastix, I'll Be The Devil, In-yer-face theatre, Jerusalem (play), John Rhodes (17th century), Love and Money (play), Lucky Dog, Made of Stone (play), Mogadishu (play), Orphans (Dennis Kelly play), Philip Henslowe, Posh (play), Punk Rock (play), Redundant (play), Restoration comedy, Restoration spectacular, Revenge play, Rigdum Funnidos, Roots (play), Spur of the Moment (play), Sucker Punch (play), The Early Bird (play), The Winslow Boy, War of the Theatres. Excerpt: Augustan drama can refer to the dramas of Ancient Rome during the reign of Caesar Augustus, but it most commonly refers to the plays of Great Britain in the early 18th century, a subset of 18th-century Augustan literature. King George I referred to himself as "Augustus," and the poets of the era took this reference as apropos, as the literature of Rome during Augustus moved from historical and didactic poetry to the poetry of highly finished and sophisticated epics and satire. In poetry, the early 18th century was an age of satire and public verse, and in prose, it was an age of the developing novel. In drama, by contrast, it was an age in transition between the highly witty and sexually playful Restoration comedy, the pathetic she-tragedy of the turn of the 18th century, and any later plots of middle-class anxiety. The Augustan stage retreated from the Restoration's focus on cuckoldry, marriage for fortune, and a life of leisure. Instead, Augustan drama reflected questions the mercantile class had about itself and what it meant to be gentry: what it meant to be a good merchant, how to achieve wealth with morality, and the proper role of those who serve. Augustan drama has a reputation as an era of decline. One reason for this is that there were few dominant figures of the Augustan stage. Instead of a single genius, a number of playwrights worked steadily to find subject matter that would appeal to a new audience. In addition to this, playhouses began to dispense with playwrights altogether or to hire playwrights to match assigned subjects, and this made the producer the master of the script. When the public did tire of anonymously authored, low-content plays and a new generation of wits made the stage political and aggressive again, the Whig ministry stepped in and began official censorship that put an end to daring and innovative content. This conspired with the public's taste for special effects to reduce theatrical output and promote the novel. As for prose and