Editing English drama (section)

==17th and 18th centuries==
{{See also|Restoration Comedy}}
[[File:Aphra Behn.jpg|thumb|right|120px|[[Aphra Behn]] was the first professional English woman playwright.]]
During the Interregnum 1649–1660, English theatres were kept closed by the [[Puritan]]s for religious and ideological reasons. When the London theatres opened again with the Restoration of the [[monarchy]] in 1660, they flourished under the personal interest and support of [[Charles II of England|Charles II]]. Wide and socially mixed audiences were attracted by topical writing and by the introduction of the first professional actresses (in Shakespeare's time, all female roles had been played by boys). New [[genres]] of the Restoration were [[heroic drama]], [[she-tragedy|pathetic drama]], and [[Restoration comedy]]. Notable heroic tragedies of this period include [[John Dryden]]'s ''[[All for Love (play)|All for Love]]'' (1677) and ''[[Aureng-zebe]]'' (1675), and [[Thomas Otway]]'s ''[[Venice Preserved]]'' (1682). The Restoration plays that have best retained the interest of producers and audiences today are the comedies, such as [[George Etherege]]'s ''[[The Man of Mode]]'' (1676), [[William Wycherley]]'s ''[[The Country Wife]]'' (1676), [[John Vanbrugh]]'s ''[[The Relapse]]'' (1696), and [[William Congreve (playwright)|William Congreve]]'s ''[[The Way of the World]]'' (1700). This period saw the first professional woman playwright, [[Aphra Behn]], author of many comedies including ''[[The Rover (play)|The Rover]]'' (1677). Restoration comedy is famous or notorious for its [[Human sexuality|sexual]] explicitness, a quality encouraged by [[Charles II of England|Charles II]] (1660&ndash;1685) personally and by the [[rake (character)|rakish]] [[Aristocracy (class)|aristocratic]] ethos of his [[court]].

In the 18th century, the highbrow and provocative Restoration comedy lost favour, to be replaced by [[sentimental comedy]], [[domestic tragedy]] such as [[George Lillo]]'s ''[[The London Merchant]]'' (1731), and by an overwhelming interest in Italian [[opera]]. Popular entertainment became more dominant in this period than ever before. Fair-booth [[burlesque]] and musical entertainment, the ancestors of the English [[music hall]], flourished at the expense of legitimate English drama.  By the early 19th century, few English dramas were being written, except for [[closet drama]], plays intended to be presented privately rather than on stage.