Realism and the Modern Theatre Introduction to the Study of Theatre By K. Kruszka

Beliefs A call to return the theatre to “serious” pursuits as opposed to the commercial interests of melodrama and comedy. Theatre shouldn’t be a frivolous entertainment but serious, artful expression.

1850 - 1950 Rise in urban poverty and crime – social problems Charles Darwin and the “Survival of the Fittest” Sigmund Freud and psychoanalysis and the unconscious Humanity was a the mercy of its environment, not in control at all

Realism in Theatre Truth lies in the observable physical world Truth can only be discovered through scientific observation Art is to be for the betterment of humankind, with artist as scientist Plays were set in contemporary times because that is all the playwright could observe firsthand. Subjects were contemporary life and its problems.

Unity in design to create the illusion of reality Setting was part of the play so actors used it rather than performing in front of it. Details had to be three dimensional rather than painted if they were to appear real. Actors blocked to resemble natural movement Group toured Europe and became very popular and copied.

Realistic Blocking

Naturalism – Andre Antoine Created use of the 4th Wall Had real objects onstage (trees, sides of beef) to further enhance the naturalism. Actors should appear to be people, not actors and say lines conversationally. Box sets used over wing and backdrop to show “rooms”

“The Lower Depths” by Gorki examined life in the flophouse “The Lower Depths” by Gorki examined life in the flophouse. All stage elements reflected this setting.

Realism Becomes Dominant Naturalism had an invited audience to avoid censorship, which limited popularity. Naturalism difficult for audiences to follow. Realism offered a style of reality that was watch-able and that audiences could appreciate. Realism is still the dominant form of theatre, especially in the United States.

Chekhov and Stanislavski

Moscow Art Theatre Chekhov’s plays demanded a new style of acting that would teach actors how to create realistic, multi-layered characters while also being understood by the audience. Stanislavski developed a method of acting, often called Realism, which trained actors for performing realism. It is the most popular training method today in the United States.

Stanislavski’s Method A system, still used today, where actors create characters through observation, sense memory, and personal observation. The relationship between actor and director is one in which they find the play and its characters together through the rehearsal process. Endowment, Objective, Inner Monologue

Playwrights Heinrich Ibsen - Norwegian A Doll’s House, Hedda Gabler Credited with writing the first pieces of realism that attacked society’s values. Ibsen’s plays tackled issues of the role of women, euthanasia, morality of war and other social issues.

George Bernard Shaw English Pygmalion, Saint Joan, Man and Superman Almost always wrote comedies that dealt with social issues of the times. Made realism accepted in England.

Americans Eugene O’Neill – Long Day’s Journey Into Night, When Mourning Becomes Electra Tennessee Williams – A Streetcar Named Desire, The Glass Menagerie, Cat on a Hot Tin Roof Arthur Miller – Death of A Salesman, The Crucible, All My Sons Edward Albee – Who’s Afraid of Virginia Wolf, The Goat