Modern Theater Essay

A type of theatre which relies upon imagination (and therefore limited props) to convey the setting and atmosphere of the play.

Classical theatre usually contains lofty, grand prose or free verse dialogue.

Where it's featured solely on the words of others, usually members of the public in a particular situation, it's known as VERBATIM THEATRE.

Traditional audience seating layout where the audience is looking at the stage from the same direction.

(2 April 1840 – 29 September 1902) A French writer, the most important exemplar of the literary school of naturalism and an important contributor to the development of theatrical naturalism.

Naturalism was first advocated explicitly by Émile Zola in his 1882 essay entitled Expressionism is a modernist movement in drama and theatre that developed in Europe (principally Germany) in the early decades of the 20th century and later in the United States.

Naturalistic writers were influenced by the theory of evolution of Charles Darwin.

They believed that one’s heredity and social environment determine one’s character.

Naturalism is a movement in European drama and theatre that developed in the late 19th and early 20th centuries.

It refers to theatre that attempts to create a perfect illusion of reality through a range of dramatic and theatrical strategies: detailed, three-dimensional settings; everyday speech forms (prose over poetry); a secular world-view (no ghosts, spirits or gods intervening in the human action); an exclusive focus on subjects that are contemporary and indigenous (no exotic, otherworldly or fantastic locales, nor historical or mythic time-periods); an extension of the social range of characters portrayed (away from the aristocrats of classical drama, towards bourgeois and eventually working-class protagonists); and a style of acting that attempts to recreate the impression of reality (often by seeking complete identification with the role, understood in terms of its ‘given circumstances’, which, again, transcribe Darwinian motifs into performance, as advocated by Stanislavski).


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