*Women in Restoration Theatre*
Restoration
The reinstatement of Charles II in 1660 marked the end of Puritan control in England.
This period known as The Restoration commenced great prosperity in terms of
colonization, trade, and religious freedom. This time frame also brought about many new
poets, actors, playwrights, and artists. Theatres that had been shut down for eighteen
years under Puritan reign were now able to re-open their doors to the public. . The shift
back to a monarchial rule led to an abundance of artistic expression to celebrate the end
of Puritanism.
*The Start of Restoration Theatre*
During the Elizabethan Era (1558-1603) and the Jacobean period (1604-1641) theatre
blossomed. This came to an end once the Puritans took control in 1642, banning all
theatrical productions. Strict Puritan laws made it nearly impossible for performances to
take place. Theater productions were done in secrecy, many times in a playwright’s own
personal theatre. The arts were able to make a comeback after Charles II was reinstated
in 1660. His love of French-style theatre provoked him to issue patents to playwrights
*Thomas Killigrew and Sir William Davenant*. Free creative expression led to a variety of
different theatre styles and techniques. Mixtures of comedies and tragedies birthed
crude humor, advanced stage technology, and for the first time in English history the
appearance of women actresses.
*The Adaption of Women in Theatre*
*Prior to the Restoration, women were often times portrayed by “pretty,” young boys.*
Considering the prior Puritan Era, this at first seemed a bit scandalous, even though
women naturally brought a more realistic feel to the stage. The use of the female sex
meant for some raunchy humor, vulgar language, and the exploitation of women’s bodies.
*“Breeches,” scenes were acceptable during this time. This referred to women actresses
dressing in breeches and acting as male characters.* Exposed legs and ankles as
opposed to long skirts helped to sexualize productions. Other visual attempts involved
women wearing ripped clothing and oftentimes even bare breasts. *“The bosom as a
letterbox,” was used to draw attention to the actresses’ chest, another attempt at
sexualizing productions.* This involved a woman using her chest as a storage area,
for “letters,” or other materials.
*“Rape,” scenes became common occurrences.* They were used to create a scandal
to ultimately draw the audience’s attention. This provoked the ideology that men
dominate over women, whom they consider their “property.” In *Aphra Behn’s, _Rover_,
we see the rape of _Florinda_ which reinstates the theory of sexual violence and
possession.* These performances allowed actresses to remain pure while still satisfying
the audience’s sexual drive.
Most of society viewed actresses as *whores or prostitutes,* because they displayed
their bodies inappropriately on stage. They were also known to have affairs with wealthy
young men. This was mainly due to the fact that their income was significantly lower
compared to their male counterpart, and they desired lavish treatment. Behind the stage,
actresses were prone to sexual advances. They were not taken seriously, and men were
constantly watching as they changed in their fitting rooms. Actresses married to other
actors were the only ones safe from this perversion.
Although unclear, most historians would argue *Margret Hughes was the first woman to
ever perform in England, in Shakespeare’s Othello (1660)*. Other popular actresses
would include *Nell Gwyn, Elizabeth Barry, and Anne Bracegirdle.*
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