Post-classical theatre in the West

Theatre took on many alternate forms in the West between the 15th and 19th centuries, including commedia dell'arte and melodrama. The general trend was away from the poetic drama of the Greeks and the Renaissance and toward a more naturalistic prose style of dialogue, especially following the Industrial Revolution.

Theatre took a big pause during 1642 and 1660 in England because of Cromwell's Interregnum. Theatre was seen as something sinful and the Puritans tried very hard to drive it out of their society. Because of this stagnant period, once Charles II came back to the throne in 1660 in the Restoration, theatre (among other arts) exploded because of a lot of influence from France, where Charles was in exile the years previous to his reign.

One of the big changes was the new theatre house. Instead of the types in the Elizabethan era that were like the Globe Theatre, round with no place for the actors to really prep for the next act and with no "theater manners,” it transformed into a place of refinement, with a stage in front and somewhat stadium seating in front of it. This way, seating was more prioritized because some seats were obviously better than others because the seating was no longer all the way around the stage. The king would have the best seat in the house: the very middle of the theatre, which got the widest view of the stage as well as the best way to see the point of view and vanishing point that the stage was constructed around. Philippe Jacques de Loutherbourg was one of the most influential set designers of the time because of his use of floor space and scenery.

Because of the turmoil before this time, there was still some controversy about what should and should not be put on the stage. Jeremy Collier, a preacher, was one of the heads in this movement through his piece A Short View of the Immorality and Profaneness of the English Stage. The beliefs in this paper were mainly held by non-theatre goers and the remainder of the Puritans and very religious of the time. The main question was if seeing something immoral on stage effects behavior in the lives of those who watch it, a controversy that is still playing out today.

The eighteenth century also introduced women to the stage, which was viewed as inappropriate before. These women were looked at as celebrities (also a newer concept, thanks to some ideas on individualism that were beginning to be born in Renaissance Humanism) but on the other hand, it was still very new and revolutionary that they were on the stage and some said they were unladylike and looked down on. Charless II did not like young men playing the parts of young women, so he asked that women play their own parts. Because women were allowed on the stage, playwrights had more leeway with plot twists like dressing them up as men and narrow escapes of morally sticky situations as forms of comedy.

Comedies were full of the young and very much in vogue, with the storyline following their love lives: commonly a young roguish hero professing his love to the chaste and free minded heroine near the end of the play, much like Sheridan's The School for Scandal. Many of the comedies were fashioned after the French tradition, mainly Molière, again hailing back to the French influence brought back by the King and the Royals after their exile. Molière was one of the top comedic playwrights of the time, revolutionizing the way comedy was written and performed by combining Commedia dell'arte, French comedy and satire to create some of the longest lasting and most influential satiric comedies.Tragedies were similarly victorious in their sense of righting political power, especially poignant because of the recent Restoration to the Crown. They were also imitations of French tragedy, although the French had a larger distinction between comedy and tragedy, whereas the English fudged the lines occasionally and put some comedic parts in their tragedies. Common forms of non-comedic plays were sentimental comedies as well as something that would later be called tragedie bourgeoise, the tragedy of common life, were more popular in England because they applied more to the English sensibilities.

Through the 19th century, the popular theatrical forms of Romanticism, melodrama, Victorian burlesque and the well-made plays of Scribe and Sardou gave way to the problem plays of Naturalism and Realism; the farces of Feydeau; Wagner's operatic Gesamtkunstwerk; musical theatre (including Gilbert and Sullivan's operas); F. C. Burnand's, W. S. Gilbert's and Wilde's drawing-room comedies;Symbolism; proto-Expressionism in the late works of August Strindberg and Henrik Ibsen;^[30] and Edwardian musical comedy.

These trends continued through the 20th century in the realism of Stanislavski and Lee Strasberg, the political theatre of Erwin Piscator and Bertolt Brecht, the so-called Theatre of the Absurd ofSamuel Beckett and Eugène Ionesco, American and British musicals, the collective creations of companies of actors and directors such as Joan Littlewood's Theatre Workshop, experimental and postmodern theatre of Robert Wilson and Robert Lepage, the postcolonial theatre of August Wilson or Tomson Highway, and Augusto Boal's Theatre of the Oppressed.