NEOCLASSICAL THEATER: HISTORY, CHARACTERISTICS, REPRESENTATIVES, WORKS - ART - 2025

The neoclassical theater was a literary manifestation of the 18th century that functioned as a synthesis of the ideals of the Enlightenment. Consequently, this theater was based on the principles of rationality, balance and harmony proposed by the prevailing aesthetic of the Enlightenment.

Likewise, it is affirmed that the neoclassical theater was inspired by the Greco-Latin tradition. In fact, the term “neoclassical” comes from the union of the words new and classic, which refer to the interest of 18th century artists to retake the foundations of classical antiquity and adapt them to the social, political and cultural needs of the moment..

The neoclassical theater was a literary manifestation of the 18th century that functioned as a synthesis of the ideals of the Enlightenment. Source: Gabriel bella

It is necessary to add that the Enlightenment was an epistemological current focused on reason, so it sought to rationalize not only human knowledge, but all aspects of life.

For some historians, enlightened thought replaced religion as a form of organization of human existence, establishing as a starting point a secular ethic governed by scientific concepts.

Consequently, neoclassical theater functioned as a tool that allowed the playwrights and artists of the Enlightenment to express and impose the new ideals of the time. For this reason, this type of theater was characterized by rigorously following the classical schemes, as well as by having a strong didactic and moral component.

History

Origin of neoclassicism

Neoclassical art emerged in the 18th century and was strongly influenced by the Enlightenment, an intellectual and renovating movement that proposed a critical revision of the prevailing values ​​and ideas; From this notion comes the term "Age of Enlightenment", since the illustration intended to end the religious and irrational obscurantism of previous decades.

Consequently, neoclassicism was nourished by two main currents of thought: rationalism and empiricism. In the first case, reason is considered as a pillar of human knowledge, distancing itself from divine traditions and revelations. According to this current, everything must be subjected to a critical review before being considered valid.

As for empiricism, it is a form of knowledge that is based on observation and experimentation, that is, deducing a hypothesis and then testing it.

These aspects were applied in artistic manifestations, which exalted the reasonable and credible character within his works; To this is added the search for good taste, so they sought to distance themselves from the contrasts and excesses typical of previous artistic trends such as the Baroque.

In their search for the rational, the artists of the 18th century found inspiration in the Greco-Roman culture, which was sustained by the principle of harmony and perfection of forms. Neoclassicism also drew on the Renaissance, taking from it its interest in the human figure and in objective knowledge.

Emergence of neoclassical theater

Neoclassical artists shared the belief that their time had the duty to reform social practices and behaviors with the aim of configuring a more civic, supportive and happy citizen; This reform had to be done not only from legal methods, but also through the persuasion of a theoretical discourse, in this case, a plastic discourse.

In eighteenth century society, there were two ways of communicating with the masses: through the pulpit or through the theater - although the periodical press was already beginning to take shape. Consequently, it can be affirmed that the neoclassical principles used the theater to reach a majority reception, since the theater was the most accessible artistic and literary genre.

Furthermore, the theater was received by the viewer in a passive way - this underwent changes in subsequent centuries - without the need to open a book; sight and hearing were also served and continue to be served, so that information can even reach the illiterate population.

Likewise, at that time the theater was one of the basic distractions of the town and was visited by all social classes.

characteristics

Didactic and moralizing theater

As mentioned in previous paragraphs, one of the main characteristics of neoclassical theater is that its productions had to be moralizing and educational.

Therefore, if it was an epic, the people were taught about the great virtues and vices of men, inciting them to love the former and abhor the latter; in the case of tragedy, it had to teach the public that vices never go unpunished.

As for comedy, this had to be a representation of daily life that, through humor, would correct common vices.

Jean-François Marmonel, in his text The Elements of Literature (1787) established that, although the purpose of the theater is to amuse and excite the viewer, this should not be its main objective. Therefore, the object of neoclassical theater is to instruct the public, making it wiser and more educated.

The goal of neoclassical theater was to instruct the public, making it wiser and more educated. Source: anonymous / unknown

Respect for the classical norms and the rule of the three units

From a formal point of view, neoclassical theater was concerned with respecting three particular units, these being: the unit of time, the unit of place and the unit of action.

The rule of the unit of time established that the internal time of a performance could not exceed twenty-four hours, while the unit of place stipulated that there could only be one stage through which the actors entered and exited.

Finally, the unit of action determined that only three acts could be developed, consisting of the presentation or beginning, the middle and the end.

Similarly, neoclassical theater respected other classical norms, such as the fact that comedy and tragedy should not mix. This means that neoclassical playwrights reject Tragicomedy as a literary genre.

Bourgeois theme

Although the neoclassical theater sought to educate citizens of all social classes, its theme always addressed daily problems of bourgeois realities. That is, neoclassical playwrights chose as heroes or protagonists people belonging to the bourgeois status, so they were generally well-off characters with a certain level of education.

Representatives and works

Leandro Fernández de Moratín (1760-1828)

Leandro Fernández was a Spanish poet and playwright, considered by many authors as the most important neoclassical comediographer of the Age of Enlightenment. Fernández was a man of his time, who was able to personally experience the horrors of the French Revolution, since he traveled throughout Europe during this period.

As for his works, this author was guided by two main premises: theater not only as a delight, but also as a school of good manners, and theater as action that credibly imitates reality. For this reason, Fernández remained attached to the dramatic rules, especially the three-unit rule.

One of his most important works was The Old Man and the Girl, premiered in 1790. In this text, the playwright demonstrated his rejection of marriages between older men and very young girls, not only because of the difference in age, but also by the lack of interest on the part of the girls.

With a similar theme is his work The Yes of the Girls, from 1806. It is a prose comedy that takes place in one place - an inn - and unfolds in twenty-four hours.

It tells the story of Doña Francisca, a 16-year-old girl who is forced by her mother to marry Don Diego, a 59-year-old rich gentleman. The play was a formidable success, despite being threatened by the Inquisition.

José Cadalso (1741-1782)

He was a valuable Spanish writer who not only excelled in dramaturgy, but also in poetry and prose. Likewise, Cadalso is better known by his artistic pseudonym "Dalmiro". He also stood out as a military man, however, he died prematurely at 40 years of age during combat.

Among his most famous texts are: The scholars to the violet, Moroccan letters and Gloomy Nights. However, his dramaturgy was made up of two main works: Don Sancho García (1771) and Solaya o los circasianos (1770).

Solaya or the Circassians consists of a tragedy developed in an exotic setting, where a region of Russia known as Circassia is represented.

This work tells the story of a Tatar prince named Selin, who comes to Circasia to collect a maiden tax; in the process he falls in love with Solaya, a girl from an important family. Despite meeting all neoclassical requirements, the piece did not meet with much public approval.

As for the work Don Sancho García, it is also a neoclassical tragedy developed in five acts and subjected to the rule of three units. One of the peculiarities of this work is that it was premiered privately in the palace of the Count of Aranda.

In general terms, the dramatic text tells the story of the widowed countess of Castile, who, in order to please her lover -the Moorish king-, tries to assassinate her son Sancho García with poison; however, this does not turn out well, since the condensate ends up drinking the poison she had prepared for her son.

References

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