Victor Hugo: France Romantic Movement, and Its Key Players
Victor Hugo:
France Romantic Movement, and Its Key Players
France Romantic Movement and Its Key Players
Theatre has been present and effecting societies, and politics, all the way back to the Greeks, and in other forms, even before the Greeks. There is little question to Theatre being instrumental in the development of history at times. Shakespeare said it best through his character Hamlet, in his play Hamlet, “Good my lord, will you see the players well bestowed . . . let them be well used, for they are the abstract and brief chronicles of the time.” It is not always easy to tell what causes the one to change wither theatre effects change to societies and their politics or if the movements and styles of theatre change in response to society and its politics. A tenant from theatre’s “Romantic” movement may give the answer to this question. In the romantic theatre a principle idea is that, “Human existence is compounded of dualities.” (Brockett, 364) The cause and effect of society and theatre through history may be itself a “duality” where, they both effect and change the other. Understanding the changes in the styles/movements in theatre is in fact important. I will examine the major change theatre took in France from “Neoclassic” ere to the “Romantic” era, and use the works of, Victor Hugo, exemplify the understanding of Romantic theatre. The nineteenth century brought one of the biggest social and political changes since the Renaissance. “… from 1790 to 1850 (Europe) was taken up with a struggle between those seeking to maintain the social political status quo and those working for a more democratic society.” (Brockett, 363) In this time period we see a change in Theatre for its former neoclassical era into the romantic movement of theatre. Before I begin to study the change in the Romantic theatre, I need to look at what neoclassic theatre was. In Neoclassicism,
France Romantic Movement, and Its Key Players
France Romantic Movement and Its Key Players
Theatre has been present and effecting societies, and politics, all the way back to the Greeks, and in other forms, even before the Greeks. There is little question to Theatre being instrumental in the development of history at times. Shakespeare said it best through his character Hamlet, in his play Hamlet, “Good my lord, will you see the players well bestowed . . . let them be well used, for they are the abstract and brief chronicles of the time.” It is not always easy to tell what causes the one to change wither theatre effects change to societies and their politics or if the movements and styles of theatre change in response to society and its politics. A tenant from theatre’s “Romantic” movement may give the answer to this question. In the romantic theatre a principle idea is that, “Human existence is compounded of dualities.” (Brockett, 364) The cause and effect of society and theatre through history may be itself a “duality” where, they both effect and change the other. Understanding the changes in the styles/movements in theatre is in fact important. I will examine the major change theatre took in France from “Neoclassic” ere to the “Romantic” era, and use the works of, Victor Hugo, exemplify the understanding of Romantic theatre. The nineteenth century brought one of the biggest social and political changes since the Renaissance. “… from 1790 to 1850 (Europe) was taken up with a struggle between those seeking to maintain the social political status quo and those working for a more democratic society.” (Brockett, 363) In this time period we see a change in Theatre for its former neoclassical era into the romantic movement of theatre. Before I begin to study the change in the Romantic theatre, I need to look at what neoclassic theatre was. In Neoclassicism,
Cited: Arellano, Robert, and Anthony S. Wohl. "Neoclassicism: An Introduction." The Victorian Web. Brown University, July 2000. Web. 1 Oct. 2012. . Brockett, Oscar G. History of the Theatre. 3rd ed. Boston: Allyn and Bacon, 1977. Print. Brockett, Oscar G., and Franklin J. Hildy. History of the Theatre. Boston, MA: Pearson Education, 2007. Print. Henderson, Andrea K. Romantic Identities : Varieties of Subjectivity, 1774-1830. Cambridge [England]: Cambridge University Press, 1996. Hernani, ou l 'Honneur Castillan. 2. Marion de Lorme. 3. Le Roi s 'amuse. Drames by Victor Hugo The North American Review , Vol. 43, No. 92 (Jul., 1836), pp. 133-163 Hewitt, Barnard. History of the Theatre from 1800 to the Present. 1st ed. New York: Random House, 1977. Print. Schumacher, Claude, ed. Victor Hugo: Four Plays. London: Methuen, 2004. Print. "Victor Hugo." Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2012. Web. 01 Oct. 2012. http://www.britannica.com/EBchecked/topic/274974/Victor-Hugo