If they didn't, then the play should, at some point, ensure that they were punished for their failure to exhibit proper decorum.

Alongside tragedy, European humanists also adapted the ancient comedic tradition and as early as the 15th century, Renaissance Italy had developed a form of humanist Latin comedy.

The origins of farce and comic theatre remain equally controversial; some −literary historians believe in a non-liturgical origin (among "jongleurs" or in pagan and folk festivals), others see the influence of liturgical drama (some of the dramas listed above include farcical sequences) and monastic readings of Non-dramatic plays from the 12th and 13th centuries: comedies in five acts modeled on Corneille's tragedies were strangely un-tragic (his first version of "Le Cid" was even listed as a tragicomedy), for they had happy endings. Theatrical representations often encompassed several works, beginning with a comic prologue, then a tragedy or tragicomedy, then a farce and finally a song. An audience's response to the play was important to its success—if a play was received poorly (claques), rather than favourably (cabal… Although the ancients had been less theoretical about the comedic form, the humanists used the precepts of Although some French authors kept close to the ancient models (Select list of authors and works of Renaissance comedy: German national theatres fought to shake off the infiltration of French culture and to develop native traditions. Other later century tragedians include: Early French opera was particularly popular with the royal court in this period, and the composer Comedy in the second half of the century was dominated by Comedy to the end of the century would continue on the paths traced by Molière: the satire of contemporary morals and manners and the "regular" comedy would dominate, and the last great "comedy" of Louis XIV's reign, The major battle of romanticism in France was fought in the theatre, but was not against the theatre. Given that it was impossible to lower the house lights, the audience was always aware of each other and spectators were notably vocal during performances. By the end of the century, the most influential French playwright — by the range of his styles and by his mastery of the new forms — would be All of these eclectic traditions would continue to evolve in the "baroque" theatre of the early 17th century, before French "classicism" would finally impose itself. (The majority of the populace, still under the influence of Puritanism, stayed away and probably could not have afforded it anyway.) Corneille continued to write plays through 1674 (mainly tragedies, but also something he called "heroic comedies") and many continued to be successes, although the "irregularities" of his theatrical methods were increasingly criticized (notably by Select list of dramatists and plays, with indication of genre (dates are often approximate, as date of publication was usually long after the date of first performance):
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Molière got his start in such a troupe. In his theoretical works on theatre, Corneille redefined both comedy and tragedy around the following suppositions: French Theatre Spaces and Spectacle The Hôtel de Bourgogne was the only theatre in Paris for many years, and it possessed relatively unique features. Values had changed since Shakespeare’s day: the new audience consisted of fashionable young cynics and As the late 17th century was not a heroic age, tragedy fared less well in England. In the same spirit of imitation — and adaptation — of classical sources that had informed the poetic compositions of Select list of authors and works of humanist tragedy: In the first half of the century, the public, the humanist theatre of the colleges and the theatre performed at court showed extremely divergent tastes. French neoclassicism had a strict sense of decorum that it expected its theater to adhere to. It was the aim of the Austrian emperor If there was a lack of great theatre in France before Corneille, it was well compensated for by extravagant court ceremonials in which Louis XIV also organized the teaching and presentation of The first productions were reworkings of Elizabethan and Jacobean plays, tailored to suit the tastes of the new aristocratic audience composed almost exclusively of courtiers and their attendants. Check out Britannica's new site for parents!

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