History (theatrical genre)
The Persians stands as the earliest surviving work of theatre that records an entirely historical event under modern understanding. Aeschylus wrote this play in 472 BCE, depicting the Persian reaction to the Battle of Salamis. The Greeks did not distinguish between myth and history when crafting their narratives. They incorporated stories of gods into the same overarching narrative that included stories of kings. This blending created a key difference from modern history plays. The Persians incorporates supernatural elements into its narrative about the battle at Salamis. It primarily dramatizes the Persian reaction to the battle, information that would have been secondary for ancient Greek historians. Thus, although it concerns a verifiable historic event, it differs substantially from the modern genre of history plays. The goals of The Persians did not entirely parallel those of ancient Greek historians.
A significant development occurred during the Middle Ages with the rise of mystery plays. Theatre in the Middle Ages arose from traditions surrounding the mass. The eucharistic sacrifice reenacts the sacrifice on the cross, creating profound similarities to theatre. The traditions that evolved around the Easter service were theatre. Specifically the Quem quaeritis? explicitly involved the portrayal of characters by the priest and the acolyte. Medieval theatre makers began crafting other plays detailing the religious narratives of Christianity. Plays about saints, especially local saints, were particularly popular in England. These plays conformed to the goals of contemporary historians, often closely paralleling Lives of the Saints books. They are generally not included in the modern understanding of history plays because they differ significantly from the modern understanding of history. They unquestioningly include supernatural phenomena as key elements. The final step in the origin of the modern history play required the evolution of the modern understanding of history.
The history play first took its modern form in Tudor England. Literary scholar Irving Ribner connects the emergence of the history play with a new birth of historical writing in England during the sixteenth century. New books of English history appeared by Polydore Vergil in 1534, Edward Hall in 1543, and Raphael Holinshed in 1577. This trend reached a new level of intensity after the ascension of Henry VII. There was a perceived need to show the justification of the Tudors' position in the monarchy. Ralph Hertel links the performative nature of the history play with a growing sense of English national identity under the early Tudors. Englishness is considered something brought forth by spectators who participate in the theatre event by becoming eye witnesses of sorts of the events staged. John Skelton's Magnyfycence from 1519 serves as an early example. Characters are named in the traditional fashion of a medieval morality play. The lead is named Magnificance and primary adversaries bear names such as Folly. Through the plot line and relationships, Skelton assures his contemporaries will easily recognize Henry VII in the title character and Cardinal Thomas Wolsey in Folly.
In the First Folio, the plays of William Shakespeare were grouped into three categories: comedies, histories, and tragedies. These histories help define the genre of history plays. Shakespeare wrote eight plays covering the continuous period between Richard II and Richard III. The so-called first tetralogy, apparently written in the early 1590s, deals with the later part of the struggle. It includes Henry VI parts one, two and three and Richard III. The second tetralogy finished in 1599 includes Richard II, Henry IV Part 1, Henry IV Part 2 and Henry V. This second group is frequently called the Henriad after its protagonist Prince Hal. Shakespeare himself alludes to the recognition of history as an established theatrical genre in Hamlet when Polonius announces the arrival of the best actors for tragedy, comedy, or history. Several other plays listed as tragedies could be classified as history plays according to a broader definition. Julius Caesar depicts historical events from classical antiquity while Antony and Cleopatra does the same. King Lear dramatizes the history of ancient Britain and Macbeth depicts medieval Scotland. A consistent theme revolves around questions of who had legitimate claim to participate in state affairs.
Following the Restoration, English History as a genre lost much momentum gained during Tudor and Stuart eras. Even tragedy had fallen out of style in favor of tragicomedy and comedy. Nevertheless, English playwrights produced numerous plays depicting historical events outside England. William Davenant wrote The Siege of Rhodes. John Dryden created The Indian Queen and The Indian Emperor. Elkanah Settle composed The Empress of Morocco. Productions often had an intentionally revivalist character. Adaptations of Shakespeare's plays including his histories were extremely popular. In the eighteenth century Joseph Addison's neo-classical Cato could be classified as a history play. This follows the broad generalized definition that would apply to Shakespeare's Julius Caesar. The genre shifted away from its earlier prominence during this period. Playwrights turned toward different forms of dramatic expression.
Popular recently authored history plays include James Goldman's The Lion in Winter. Critics criticized it as ahistorical while testing boundaries of the genre. It pokes fun at conventions yet retains an essentially historic core. George Bernard Shaw's Saint Joan received widespread praise. Some compared it favorably to Shakespeare's histories. The temporal boundary of history plays is tested in Stuff Happens by David Hare. This chronicles events leading up to the Iraq War with only two years separating author from subject. The play focuses heavily on use of exact quotes. All public speeches given by main characters are taken word for word from actual quotes. These contemporary works challenge traditional genre boundaries while maintaining historical cores. They demonstrate how the genre continues to evolve beyond Renaissance definitions.
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Common questions
What is the earliest surviving work of theatre that records an entirely historical event?
The Persians stands as the earliest surviving work of theatre that records an entire historical event under modern understanding. Aeschylus wrote this play in 472 BCE, depicting the Persian reaction to the Battle of Salamis.
When did the history play first take its modern form in Tudor England?
The history play first took its modern form in Tudor England during the sixteenth century. New books of English history appeared by Polydore Vergil on the 1st of May 1534, Edward Hall in 1543, and Raphael Holinshed in 1577.
How many plays did William Shakespeare write covering the continuous period between Richard II and Richard III?
Shakespeare wrote eight plays covering the continuous period between Richard II and Richard III. The so-called first tetralogy includes Henry VI parts one, two and three and Richard III, while the second tetralogy finished in 1599 includes Richard II, Henry IV Part 1, Henry IV Part 2 and Henry V.
Which recent authored history play chronicles events leading up to the Iraq War with only two years separating author from subject?
Stuff Happens by David Hare chronicles events leading up to the Iraq War with only two years separating author from subject. This play focuses heavily on use of exact quotes where all public speeches given by main characters are taken word for word from actual quotes.
What is the difference between The Persians and modern history plays regarding supernatural elements?
The Persians incorporates supernatural elements into its narrative about the battle at Salamis. The Greeks did not distinguish between myth and history when crafting their narratives, which creates a key difference from modern history plays that generally do not include such phenomena as key elements.