Essay Sample on Revolt Against Neoclassical Theatre

The neoclassical theater was a movement that focused on all forms of art, including literature and architecture. The artists used the Classic Greek and Roman models in their art. Neoclassicism was strict in ensuring that the art adhered to the unity of time, action, place, and also the significance of verisimilitude and decorum in writing plays (Bietoletti, 2009). The civil wars in the 16th and 17th centuries significantly affected the development of French theater. During the 16th century, French theater was based on the medieval heritage of morality and mystery arts. The French theater was able to progress due to the availability of ancient writers such as Aristophanes, Seneca, and Euripides. Later, the neoclassical theater was associated with grandiosity, where stages, costumes, and scenery were modified to be in line with the new ideas (Bietoletti, 2009). The two genres of drama that were recognized by French neoclassicism were tragedy and comedy, and the two could never be combined in the same context. However, the French Revolution resulted in the emergence of romanticism. Therefore, the paper will focus on Romanticism as a revolt against neoclassical theater.

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Romanticism became popular during the Napoleonic period; however, its arrival in the French art was delayed by the existence of neoclassical theater. The term "romantic" was initially used in 1798 in Germany by August von Schlegel and Friedrich. Other romantic literary styles, such as Sturm and Drang ("storm and stress"), were then written by Johann Wolfgang von Goethe and Johann Christoph Friedrich von Schiller (Lane, 2013). In England, the romantics revolted against the propriety, traditionalism of the age of reason, and order, which were the key aspects of neoclassical theater. Generally, neoclassical writers revered the literary accomplishments of the ancient Roman and Greek writers in terms of rules both in society and literature. The revolt against neoclassicism occurred because neoclassical writers considered humans as an integral part of the society rather than as an individual.

Moreover, neoclassicism focuses on idealism, intellectuality, and perfection. Romanticism revolts against neoclassicism by focusing on the state of mind. Romantic painters connect what they see with what they can feel. Therefore, romanticism is more expressive and dynamic compared to neoclassicism. The significance of romanticism over neoclassicism is evident when Jacques-Loius David's Death of Marat is compared to Theodore Gericault's The Raft of the Medusa (Bietoletti, 2009). David paints the assassination of his friend Marat in the "Death of Marat, 1793." The paint displays the last moment and the last breath of Marat. Marat, who was a revolutionary writer, was assassinated in 1793. During his assassination, he was in a bath tab because he had a skin condition that required him to be in the water for a certain duration. David paints Marat as if he is not a body. His skin is smooth and perfect despite having a skin condition. David makes him ideal and statue-like.

In contrast to David's painting, there is "The Raft of the Medusa, 1918-1919," which is expressive and dramatic. The paint displays a desperate situation of rescue where almost half of the people died in the process. Gericault paints a dramatic scenario and emotions. The focus of the painting is when the people on the raft might be rescued. There is a lot of symbolism and chaos taking place. Unlike the "Death of Marat," the painting on "The Raft of Medusa" is spontaneous and dynamic (Edwards, 2013). It shows a reaction to neoclassicism, which lacks expression. The paints done by romantic artists bring out emotion, free form, fluidity, and spontaneity to the works of art.

Furthermore, early romantic poetry shows a revolt against neoclassicism. Although the romantic period of Britain is said to be 1798, there are aspects of romanticism that can be found in earlier British literature. For instance, William Blake, who was a British poet, began publishing his work in the 1780s (Lane, 2013). He created mystical verses and expressed his personal philosophy through illustrations with his own engravings. As a British of humble beginnings, Blake experienced suffering and poverty. As a result, he supported the French Revolution passionately during its early days. Therefore, he revolted against the neoclassical ideas of an orderly and stable hierarchy in the world (Lane, 2013). Blake viewed existence as a mixture of opposite poles - heaven and hell, good and evil, and innocence and experience.

In conclusion, the neoclassical theater focused on various forms of art, including literature and architecture. The neoclassical plays adhered to the unity of time, action, place, and also the significance of verisimilitude and decorum. However, the emergence of romanticism created a revolt against neoclassicism. For instance, In England, the Romantics revolted against the propriety, traditionalism of the age of reason, and order, which were the key aspects of neoclassical theater. The revolt occurred because neoclassical writers considered humans as an integral part of society rather than as an individual. Moreover, a revolt against neoclassicism is evident when "The Raft of the Medusa," which brings out emotion, free form, fluidity, and spontaneity, is compared to the "Death of Marat." Furthermore, William Blake, a British poet, revolted against the neoclassical ideas of an orderly and stable hierarchy in the world by considering existence as a blend of opposite poles.

References

Bietoletti, S. (2009). Neoclassicism and romanticism. New York, NY: Sterling Publishing Co.

Edwards, E. (2013). Romanticism and the Raft of the Medusa. Retrieved from https://ericwedwards.wordpress.com/2013/07/25/romanticism-and-the-raft-of-the-medusa/

Lane, D. (2013). The revolt against neoclassicism. Retrieved from https://prezi.com/p5pdeqclusea/the-revolt-against-neoclassicism/