In the following essay, I am going to write about the development of drama and theatre from the English to the French Renaissance. There is a few important aspects that I am going to focus on: The influence that the English playwrights Christopher Marlowe and William Shakespeare had on Elizabethan drama, the public outdoor theatres of the English Renaissance, a short summary on Commedia Dell'Arte, the different neo-classical ideals that developed during the Italian Renaissance, the major innovations of scenic design and scenic practices, also about Moliere as French Neo-classical comedy dramatist and the Cardinal Richelieu's theatre: the Palace Cardinal. Christopher Marlowe was the first significant dramatist to emerge in the Elizabethan period. A history play that emphasizes important public issues, the chronicle play, was perfected by Marlowe. Marlowe did not write for publication, but rather for production. Christopher Marlowe was the most famous of the university wits. A dramatic structure standard was set by him and a number of interesting characters to English theatre was contributed by him. Marlowe developed another element that originated in medieval morality plays. A fight will occur between a good and bad angel for the main characters soul. Marlowe used this theme in many of his plays and so it became an acceptable theme in English drama. Basically a full-length drama would be incorporated by an abstract notion from the morality plays. Marlowe also focused on dramatic poetry, the power of a dramatic verse. The critics and people spoke off it as Marlowe's mighty line, an element that became central in the later Elizabethan plays. This verse had five beats to a line, with two syllables to each beat and accent on the second beat. It was called iambic pentameter, which developed powerful elements such as strength, suppleness, lyric beauty and subtlety (Wilson & Goldfarb 2010:189-191). William Shakespeare was an actor and also a member of a dramatic company and therefor he excelled in many aspects of theatre such as technical elements. He was noticed for his excellent use of the episodic plot, also for the powers of his metaphors and the use of music in his language. Another noticeable element of Shakespeare's plays was the fact that his characters were well-rounded and carefully detailed which created an atmosphere of living people. Shakespeare wrote comedies, tragedies, histories and sometimes categories that could not be labelled, that made him diverse in his work. Influences from earlier drama is illustrated in his plays and how it comes together during the English renaissance. Shakespeare did not follow the structure rules of Italian neo-classicists and instead used episodic devices that emerged in the medieval period. The use of more than one locale, he also used more than one plot and he mixed tragedy with comedy. A remarkable achievement of Shakespeare is his use of language. Quotations and phrases that we use in everyday speech, originated from his plays. What makes them impressive is not only the rhythm and its imagery, but the sound of it. Scenes got alternated so that each episode illuminates or forms a counterpoint to the one before and after it (Wilson & Goldfarb 2010:193-195). Enclosed inn-yards were adapted for performance space. A stage would be set up at the end opposite the entrance and while some spectators will stand in the yard, others will use rooms that overlook the yard as viewing spaces. Public theatres that were designed for performances became a primary space for adult acting companies whatever their origin. Just outside London, between the 1560s and 1642s, nine open-air public theatres were built. The reason why it was built outside London is because the city fathers of London forbade it on their moral grounds. But Queen Elizabeth and later King James offered protections that ultimately allowed the theatre to survive, because they enjoyed it. The theatres outside London were called the Theatre, the Globe, the Curtain, the Red Bull, the Swan, the Rose and the Hope. The number of spectators that the public theatre could accommodate, ranged from 1 500 to 3 000. The buildings were in different shapes, most of them were circular, some were polygonal and the Fortune theatre was in a square shape. The Rose theatre was discovered to have had thirteen or fourteen sides (Wilson & Goldfarb 2010:200-201). In the public outdoor theatres the pit, galleries and boxes were used to accommodate the spectators and usually it was three tiers of seating all around the sides. The first tier was approximately 12 feet of the second one and it would be divided into boxes and it accommodated the wealthy people and therefore it was called the lords room. The second tier was about 11 feet and it had bench seating along with the third tier that was 9 feet and also had bench seating that was undivided. Then there were a yard, which were standing space for the spectators on the ground in front