The Renaissance Theater in Italy
Humanism.
In Italy humanism was the dominant intellectual movement of the fourteenth and fifteenth centuries, and its methods affected most areas of cultural life. The early humanists Francesco Petrarch (1304–1374) and Giovanni Boccaccio (1313–1375) had been fascinated by the genres and literary style of Latin Antiquity. They envisioned a revival of culture based upon ancient literary models. As the humanist movement developed, it acquired a new sophistication about the role and uses of language. This sophistication gave birth in the fifteenth century to philology, a new discipline that studied the historical and contextual uses of languages in ancient documents. Philology developed rigorously scientific methods that by the second half of the fifteenth century allowed scholars to establish the authenticity of ancient texts. At about the same time, humanism also supported a revival of the study of ancient rhetoric as well as the Greek language. As this snapshot suggests, humanism was from its first a literary, rather than a philosophical, movement. There was no humanist manifesto or creed, but a general conviction that the development of men and women who were critical readers and thinkers as well as elegant writers might ennoble society. This same conviction prompted the humanists to study ancient forms of drama. Their efforts produced a classical revival of the masterpieces of Antiquity, even as they eventually inspired Renaissance playwrights to imitate the ancient genres. In tragedy, however, Italian dramatists long remained slaves to ancient models. Although many Renaissance Italians wrote Greek and Roman styled tragedies, no masterpiece in this genre appeared until the eighteenth century. Italian scholarship of the ancient classics gave rise to works that today are only of historical interest. At the same time Italian humanist scholarship traveled to the rest of Europe, and in Renaissance England, France, and Spain, great tragic dramas did appear. In comedy, by contrast, Renaissance Italians evidenced greater success, producing a long string of learned or erudite comedies that also inspired playwrights throughout Europe.
Revival of Antiquity.
The rediscovery of the comedies and tragedies of the ancient world gave birth to new editions of the works of Sophocles, Euripides, and the Roman playwrights Seneca, Terence, and Plautus. Seneca, the ancient author of Rome's greatest tragedies, was the first ancient playwright to attract the humanists' attentions. Already in the fourteenth century scholars had turned to study his tragedies. The comic playwright Plautus was the next great classical figure to undergo a revival. In 1429, the humanist Nicholas of Cusa rediscovered twelve plays by Plautus, and in the years that followed, Italy's growing ranks of literary scholars pored over these documents. By the second half of the fifteenth century, the printing press permitted scholars to print editions of the classical plays. A collected edition of the surviving works of Terence appeared in 1470, followed two years later by the works of Plautus. These printed editions allowed hundreds of identical texts to circulate among scholars and authors simultaneously, thus inspiring readers to try their own hand at imitating the ancient forms. The new editions also prompted Italy's wealthy patrons and nobility to commission translations of the works into Italian and to undertake productions of the plays. By contrast, the study of Sophocles, Euripides, and Aristophanes proceeded more slowly since, in the fifteenth century, Greek dramas could only be read by the most erudite of scholars. By 1525, this situation had begun to change when three of the most famous Greek tragedies, Euripides' Iphigenia in Tauris and his Cyclops as well as Sophocles' Oedipus Rex, had translations in Italian. Translations of major Greek dramas appeared throughout the sixteenth century, producing calls for the revival of Greek theater, as well as a more general interest in classical dramatic conventions.
Tragedy.
Humanist interest in ancient tragedy developed early, as Italian scholars examined the ancient tragedies of Seneca. Around 1300, the early humanists Lovati Lovato and Nicholas di Trevet producedcommentaries on Seneca's tragedies. The critical interest in Seneca was not accidental. Seneca was a Stoic, a member of the ancient philosophical sect that taught that the human passions were the source of evil. Stoicism embraced a world-renouncing creed that was not dissimilar to the Christian philosophy of many medieval figures, nor was it unattractive to the early humanists. Petrarch saw in Stoicism's teachings an effective way to manage one's relations with the world. On balance, the renewed popularity of Senecan tragedy, however, had a dampening effect on the revival of the form as a theatrical drama. Seneca treated tragedy largely as a literary genre, and today most scholars believe that he was, even in Antiquity, a writer of "closet dramas," that is of plays intended to be read rather than performed. In their attempts to understand this writer's works, the early Renaissance humanists also relied on medieval theorists such as the sixth-century philosopher Isidore of Seville or the thirteenth-century poet Dante Alighieri—both of whom had treated ancient tragedy largely as a kind of poetry that dealt with the vile deeds and justified downfall of immoral rulers. Isidore and Dante's attitudes toward the form thus downplayed the richly variegated philosophical, psychological, and visual …
