1919thth Century Realism Century Realism

1875-19151875-1915

RealismRealism

• Drama was to involve the direct observation of human Drama was to involve the direct observation of human behaviorbehavior• Use contemporary settings and time periodsUse contemporary settings and time periods• Uses temporary life and problems as subjectsUses temporary life and problems as subjects

• No subject matter should be excluded from the stageNo subject matter should be excluded from the stage• Economic injustices, sexual double standards, unhappy marriages, Economic injustices, sexual double standards, unhappy marriages,

disease, religious hypocrisydisease, religious hypocrisy

• People move and talk in a manner similar to that of our everyday People move and talk in a manner similar to that of our everyday behaviorbehavior

• This is accomplished through realistic settings and natural speechThis is accomplished through realistic settings and natural speech • It holds the idea of the stage as an environment, rather than as an It holds the idea of the stage as an environment, rather than as an

acting platform. It acting platform. It presents a theatrical verisimilitude (true to life) presents a theatrical verisimilitude (true to life) that would more that would more objectivelyobjectively portray life as recognizable to the portray life as recognizable to the audience. audience.

• Not always a neat and happy endingNot always a neat and happy ending

According to the Realist view…According to the Realist view…

• General precepts:General precepts:• Truth is verified through science Truth is verified through science • The scientific method—observation—would solve The scientific method—observation—would solve

everythingeverything• Scientific methodology can apply to human problem Scientific methodology can apply to human problem

solving. solving.

• Art had as its purpose to better mankindArt had as its purpose to better mankind• Purpose of drama was to call the audience’s attention Purpose of drama was to call the audience’s attention

to social problems in order to bring about changeto social problems in order to bring about change

Realism in ArtRealism in Art

Courbet’s Spinner Daumier’s Third Class Carriage

Millet’s Gleaners Monet’s The Beach at St. Addresse

Realism PlaysRealism Plays

• A Doll's HouseA Doll's House by Henrik Ibsen by Henrik Ibsen• The Cherry Orchard The Cherry Orchard by Anton Chekhovby Anton Chekhov• Uncle VanyaUncle Vanya by Anton Chekhov by Anton Chekhov• Major BarbaraMajor Barbara by George Bernard Shaw by George Bernard Shaw

A Doll’s House (1879)A Doll’s House (1879)

• The play focuses on Nora, a woman The play focuses on Nora, a woman trapped in a marriage in which she is trapped in a marriage in which she is treated by her husband as an object – a treated by her husband as an object – a doll – as she was treated by her father doll – as she was treated by her father previously. previously.

• When she innocently gets into trouble When she innocently gets into trouble over a financial arrangement by using over a financial arrangement by using forgery, her husband Torvald does not forgery, her husband Torvald does not stand behind her, even though it was to stand behind her, even though it was to save him. She discovers her unequal save him. She discovers her unequal status in her home when her forgery is status in her home when her forgery is revealed in a letter sent to Torvald by a revealed in a letter sent to Torvald by a fired employee, Krogstad. Even when fired employee, Krogstad. Even when Krogstad takes back the letter because he Krogstad takes back the letter because he is to marry Nora’s friend Mrs. Linde, is to marry Nora’s friend Mrs. Linde, Nora realizes that she can no longer live Nora realizes that she can no longer live with Torvald in a relationship in which with Torvald in a relationship in which she is treated like a child. The play she is treated like a child. The play closes with Nora leaving her home, closes with Nora leaving her home, slamming the door behind her.slamming the door behind her.

Constantin StanislavskiConstantin Stanislavski

• Founder of the Stanislavskian Technique or Founder of the Stanislavskian Technique or Method ActingMethod Acting• ““The actor must first of all believe in everything that The actor must first of all believe in everything that

takes place onstage, and most of all, he must believe takes place onstage, and most of all, he must believe what he himself is doing. And one can believe only in what he himself is doing. And one can believe only in the truth.”the truth.”

• He developed a series of exercises and techniques He developed a series of exercises and techniques for the actor which is still being used today by for the actor which is still being used today by famous actors in films and on stage.famous actors in films and on stage.

Stanislavskian TechniquesStanislavskian Techniques

• RelaxationRelaxation• Unwanted tension has to be eliminated to attain a state of physical Unwanted tension has to be eliminated to attain a state of physical

and vocal relaxationand vocal relaxation

• Concentration and ObservationConcentration and Observation• Importance of SpecificsImportance of Specifics

• A performer should never try to act in general, he said, and should A performer should never try to act in general, he said, and should never try to convey a feeling such as fear or love in some vague never try to convey a feeling such as fear or love in some vague wayway

• In life, we express emotions in terms of specificsIn life, we express emotions in terms of specifics

• Inner TruthInner Truth• The “Magic If” – through it we can imagine ourselves in virtually The “Magic If” – through it we can imagine ourselves in virtually

any situationany situation

Stanislavskian TechniquesStanislavskian Techniques

• What? Why? How?What? Why? How?• Everything on stage must have a purposeEverything on stage must have a purpose

• Through Line of a RoleThrough Line of a Role• Finding the superobjective of a characterFinding the superobjective of a character

• What is it, above all else, that the character wants during the What is it, above all else, that the character wants during the course of the play?course of the play?

• Ensemble PlayingEnsemble Playing• Many performers tended to “stop acting” or lose Many performers tended to “stop acting” or lose

concentration when they were not the main character in concentration when they were not the main character in a scene, which weakens the sense of ensemblea scene, which weakens the sense of ensemble

Naturalism vs. RealismNaturalism vs. Realism

• Naturalism was an extreme form of Realism Naturalism was an extreme form of Realism where all characters were the product of their where all characters were the product of their environment.  environment. 

• Decisions were made based on what nature had Decisions were made based on what nature had caused.  caused.  • If a person stole bread, it was justified because he was If a person stole bread, it was justified because he was

hungry.  hungry.  • Emile Zola (Emile Zola (Theres RaquinTheres Raquin), and Gorky (), and Gorky (The Lower DepthsThe Lower Depths) )

are noted Naturalistsare noted Naturalists

• NOTE:  Production values are similar to Realism.NOTE:  Production values are similar to Realism.

Two Kinds of NaturalismTwo Kinds of Naturalism• Naturalism ANaturalism A

• Playwright takes a troubling social problem and puts it on stage without Playwright takes a troubling social problem and puts it on stage without any attempt to change things or alter anything so the audience can look at any attempt to change things or alter anything so the audience can look at it objectively, scientifically, and come to a solution ourselvesit objectively, scientifically, and come to a solution ourselves

• The artist does not suggest or propose a solution; they only put it on The artist does not suggest or propose a solution; they only put it on display so the audience has to find the answer for themselvesdisplay so the audience has to find the answer for themselves

• OBJECTIVITY is the point of Naturalism A – the author does not get to OBJECTIVITY is the point of Naturalism A – the author does not get to mediate between the stage and the audience, only observes and presentsmediate between the stage and the audience, only observes and presents

• It is also impossible, because artistic objectivity is a mythIt is also impossible, because artistic objectivity is a myth• We live in an era of Naturalism A, with reality TV – there is a sense of We live in an era of Naturalism A, with reality TV – there is a sense of

objectivity, an illusion of itobjectivity, an illusion of it• Example: Example: House of Sand and FogHouse of Sand and Fog

• Problem with Naturalism AProblem with Naturalism A• Presumes the audience feels the same way and presumes objectivity can be Presumes the audience feels the same way and presumes objectivity can be

shownshown

Two Kinds of NaturalismTwo Kinds of Naturalism• Naturalism BNaturalism B

• Objectivity disappears – the artist takes a situation that is Objectivity disappears – the artist takes a situation that is morally despicable and puts it on probably worse than it is and morally despicable and puts it on probably worse than it is and doesn’t do anything to soften it up so that people will think doesn’t do anything to soften it up so that people will think that it is awfulthat it is awful

• No moral center anywhereNo moral center anywhere• moral center is presumed to be in the audiencemoral center is presumed to be in the audience

• The Protagonist is awful, the objective is horrible and most of The Protagonist is awful, the objective is horrible and most of the time they achieve it – mostly villains or victimsthe time they achieve it – mostly villains or victims

• Teaches through a bad exampleTeaches through a bad example• Playwright: David MametPlaywright: David Mamet• Example: Example: The Shape of ThingsThe Shape of Things by Neil Labute by Neil Labute

• Problem with Naturalism BProblem with Naturalism B• Deals with people behaving horribly and getting away with it Deals with people behaving horribly and getting away with it

and no one in the play mediates the pieceand no one in the play mediates the piece

Realism v. NaturalismRealism v. Naturalism

• A realist attacking naturalism:A realist attacking naturalism:• Ibsen: “M. Zola descends to the gutter to Ibsen: “M. Zola descends to the gutter to

wallow in it. I descend to the gutter to clean it wallow in it. I descend to the gutter to clean it up.” up.”

• Zola's answer is more of “I'm putting it Zola's answer is more of “I'm putting it there so the audience is the raisseneur; the there so the audience is the raisseneur; the audience should go, 'oh, that's interesting. audience should go, 'oh, that's interesting. We can fix this problem if we...'”We can fix this problem if we...'”

Vsevelod Meyerhold (1874-1940)Vsevelod Meyerhold (1874-1940)

• Antirealist director in RussiaAntirealist director in Russia• Wanted to shatter the “fourth wall”Wanted to shatter the “fourth wall”• Searched for found spaces – streets, factories, schools – Searched for found spaces – streets, factories, schools –

to present his workto present his work• Founded Founded biomechanicsbiomechanics, which emphasized external , which emphasized external

physical training and performance stylephysical training and performance style• An actor’s body could be trained to operate like a machine and An actor’s body could be trained to operate like a machine and

through physical actions, performers could evoke desired through physical actions, performers could evoke desired internal responses in themselves and their audienceinternal responses in themselves and their audience

• Used Used constructivist setsconstructivist sets, which used skeletal , which used skeletal frames, ramps, stairways and platforms not meant frames, ramps, stairways and platforms not meant to indicate a specific locationto indicate a specific location

Constructivist SetConstructivist Set