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Restoration theater companies desperately needed performance pieces which could satisfy the new tastes of Restoration theater goers. Since the theater-oppressing policy of the Commonwealth was harsh enough to destroy the glorious English theater tradition since Shakespeare, it was not easy to quickly develop fresh performance materials for the Restoration audience. The handy way to get dramatic works seemed to use the adapted versions of Shakespeare's plays which had been proved to be huge box office success. They adapted most Shakespeare's works for the Restoration stages. The adapted works looked similar with the original in their plots, but the subjects and the performance focuses were different from those of the original. Dryden's All for Love, adapted from Shakespeare's Antony and Cleopatra. was one of the representative adaptations for the Restoration. In All for Love, Dryden maintains similar stories about the historic incidents about Cleopatra and Antony, but the fundamental goal and method of performance was much different from those of Shakespeare's,
This paper deals with the differences of dramatic discourses and performance methods caused by the architectural structure changes of the theaters. The Globe, which was the representative model of theater building of the era, had the particular architectural structure for staging Shakespeare's works. However, the structure of typical Restoration stage was totally different from that of the English Renaissance stage. This paper is to prove the difference in themes and performance goals between the two plays above are originated from the different theater structures.
This paper deals with the differences of dramatic discourses and performance methods caused by the architectural structure changes of the theaters. The Globe, which was the representative model of theater building of the era, had the particular architectural structure for staging Shakespeare's works. However, the structure of typical Restoration stage was totally different from that of the English Renaissance stage. This paper is to prove the difference in themes and performance goals between the two plays above are originated from the different theater structures.
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