REALISM IN THEATRE
GRADE 11
HISTORICAL PERSPECTIVE
Before Realism?
Early 1800’s: Romanticism was the dominant theatre movement.
Definition of Romanticism: a literary and artistic movement that
emphasized the individual, the emotions and imagination, it celebrated
rebellion against social conventions and often portrayed life as the artist
would like it to be.
Themes often concerned with the conflict of the soul.
Language reflected heightened emotions.
Plots were extravagant, bordering on the melodramatic.
Socio-political background
What caused the change to Realism?
Victorian society - The Victorian Era was a period in Great Britain lasting
from 1837 – 1901
Conservative moral standards – sexual repression
Women: to be engaged in activities of gentler sex – motherhood, charity
work, running household errands, taking tea
Falsehood of ‘ideal family’ was maintained
Victorian society - double standards:
Lower classes ignored, underprivileged were tolerated
Socio-political background
Industrial Revolution, Napoleonic Wars – emergence of nationalism
Race between countries to expand political influence through territorial
gain – colonization
Huge impact on society: Industrial Revolution brought about change from
an agricultural to industrialized society – widespread job losses, crime and
poverty, marked a rise in prostitution, child labour and organised crime.
Urbanization
Industrial revolution
Philosophers
Classwork / Homework: Researching
philosophers
Research the three philosophers that influenced the realist movement –
Page 96 - 97
Shortly summarise the most important points under each philosopher and
their philosophies.
Do some extra reading (internet/books) over the weekend its important to
familiarise yourself with these philosophers as you will be working with their
philosophies till the end of GR 12.
AUGUSTE COMTE
Comte’s theories helped establish
the field of sociology, the study
of society.
His work was based in science
rather than in culture, politics or
philosophy.
His theory of Positivism stated
that science would lead to
prediction and that action would
arise from this prediction, a notion
that is at the core of our
contemporary ideas around
cause and effect.
CHARLES DARWIN
Darwin challenged the notion that
human beings were created by God,
in The Origin of the Species.
He also developed the nature/nurture
theory, saying that people are
affected not only by their genetic
makeup but also by the social
conditions in which they live -
HEREDITY
This would affect the degree to which
people are responsible for their
actions.
FRIEDRICH NIETZCHE
Believed that the Church had corrupted
Christianity.
God is dead to the people.
Proposed that each individual should
give value to his/her own existence.
Ways to overcome Nihilism - a belief
that the world is unknowable and
meaningless.
AIMS
o Primary aim of realist plays was to represent life in a truthful, authentic manner.
o Realist playwrights tried to portray psychologically complex characters
o Aimed to deal with themes/subjects that are relevant to society (taboo)
o Aimed to contribute to the holistic development of society and bring about
change
The Conventions of Realism
o Everything that happens on stage should resemble real life.
o Realist plays tend to explore and critique aspects of the conditions that
are reflected.
o Because realist plays desired to replicate real life, theatrical techniques
and conventions like poetry, elements of the super-natural (for example,
ghosts and witches), songs and dream sequences – are excluded.
o The power of realism lies in its credibility and in the sense of identification it
creates.
Themes
The themes of realist plays are
relevant to the lives of the audience
members
Taboo topics: economic injustice, the
sexual double standard, unhappy
marriages, venereal disease and
religious hypocrisy.
For this reason, realist plays were often
censored and, at times, banned from
certain theatres.
CHARACTERS
Characters are psychologically complex
and are a part of the environment in
which they appear.
They are subject to the value systems
and the values and their world plays a
vital role in constructing their identity.
(philosopher??)
Each character has a unique speech
pattern, expressing an individual way of
thinking and being.
They spoke in a colloquial manner.
STRUCTURE
The content of realist plays is contemporary rather than mythological,
historical or imagined.
The impact of the past on the present – a sense of history
(philosopher??) – is important and events should be plausible, with a
focus on choices, motivations and outcomes.
Events take place in a linear fashion, in the order in which they occur.
The action deals with specific issues rather than the generic.
The structure of realist drama is intensive and
may be characterised by the following attributes:
Intensive Structure Extensive Structure
Plot Begins late in the story, towards the very end or Begins relatively early in the story, moving through a
climax. Linear, moving in a single line with few series of episodes. Several threads of action include
subplots or counterplots. parallel plots.
Time Short space of time – a few hours or, at most, a few Longer period of time: weeks, months and sometimes
days. years.
Scenes Few, solid, extended scenes, e.g. three acts, each Many short fragmented scenes, sometimes alternating
consisting of one long scene. between long/short, public/private or comic/serious
scenes.
Setting Occurs in a restricted locale – one room or one May range over an entire city or even several
house. countries.
Characters Severely limited, usually no more than 6 – 8. Profusion of characters – sometimes several dozen.
Line of Action Single thread of cause-and-effect. Characters and A web of circumstances. Scenes are juxtaposed to
events are linked in a logical sequence of events. one another. An event may rise from several causes,
or no apparent cause.
WELL-MADE PLAY
Another aspect of dramatic structure is Eugene Scribe’s concept of
the well-made play.
Scribe developed a very specific set of rules applicable to any genre
of theatre.
The focus of the well-made play is on the experiences of a lead
character (protagonist).
The audience must empathise with this character, who must seem like
a complex person.
The protagonist stands in opposition to an antagonist, creating the
central conflict of the play.
The succession of events must be logical and plausible – following the
theory of cause and effect (PHILOSOPHER???) – and any coincidental
or chance events occur within the realms of possibility rather than
being fantastical.
EACH WELL-MADE PLAY WAS EXPECTED TO HAVE:
The play starts in a state of balance, builds to a climax and resolves into a
restoration of the old balance or into a completely new balance.
The opening scene – or exposition – provides the audience with the
background information for the play; the events happened before the
play itself. This establishes the present position and circumstances of the
characters in the play.
The rising action develops tension resulting from potential conflicts
between characters and presents complications / obstacles / obstructions
that affect the protagonist.
*Gr 11 Textbook – Via Afrika Page 98
EACH WELL-MADE PLAY WAS EXPECTED TO HAVE
The tension is sustained and intensified and builds towards a
climax: the peak of emotional intensity of a play and attainment
of the central action / idea / recognition in a play. The climax
usually follows a moment of crisis, where the protagonist must
make a choice that will change the course of action in the play.
If the protagonist has two choices and wants them both – an
embarrassment of riches; if the protagonist has two choices and
wants neither – the worse of two evils.
The dénouement or resolution resolves all the issues in the play
and looks towards an ending where the protagonist lives “happily
ever after”
NATURALISM
An intensified, extreme form of realism
Sought to make the theatrical event
even more realistic!
“slice of life”
Transparent fourth wall.
Classic naturalist dramas often focused
on sordid and seamy aspects of society
Hoped to instigate reform with regard to
these societal problems.
Many demonstrated the instinctive
animal desires that control us.
Emile Zola led the break away from the well-made play.
Four primary characteristics – in his critical essay “Naturalism in the
Theatre” – are featured in naturalist drama:
There is often no intermission, so the audience remains absorbed in the
action.
Characters are multidimensional, complex and contradictory.
Scenery is real, with genuine objects replacing painted backdrops.
Dialogue is interrupted and fragmentary as in real life.
STAGING CONVENTIONS OF REALIST PLAYS
Realism on stage:
End of 1800’s London was growing rapidly (what caused this??) – increased the size of
audiences
Thus theatres were upgraded to encourage the middle classes to attend – floors
carpeted, soft chairs.
Proscenium arch stage (picture frame) - stage could be used to recreate a perfectly
naturalistic scene in the box-like structure.
Painted scenery replaced by three dimensional sets – set dressing with sofas, vases, light-
fittings, carpets, portraits, curtains and windows etc. (mise-en-scene)
Introduction of electricity (1880) enabled them to dim house lights and create
well-lit stage scenes – added to the realistic representation (stage was a separate reality)
Sets were created using three ‘walls’ of the recreated room (imaginary fourth wall
separating the audience and actors)
The front curtain closed between acts/scene changes – reinforced the illusion of reality
The acting style was altered – emergence of the director and stage directions
helped to change the acting style (resembled mannerisms and speech patterns of
contemporary society)
(* Read the passage on the rise of the director on page 109/110 in your textbook and
summarize it in your workbook.)
KONSTANTIN STANISLAVSKI (1863-1938)
Born in Russia – one of the richest families.
Began his career as an actor (1877)
He felt there had to be a better way of preparing
for a performance: at the time actors were
undisciplined, drunk and late for rehearsals. Not
much direction, lines were said from centre stage
directed towards the audience. No thought was
given to interaction between characters and
costumes chosen for availability not suitability.
THE SYSTEM
Stanislavski’s system was clear, structured guidelines for the training of
actors. It highlights ten points to guide actors in preparation for their roles.
1. ACTION
• The actor should always know exactly WHAT they should be doing and WHY.
• Every action has a purpose.
• Character’s intention should be made clear through the action.
2. MAGIC IF
• Helps you to believe in the role depicted on stage.
• Difference between pretending and ‘living’ in the situation – we respond in a manner
that re-enacts real life.
3. GIVEN CIRCUMSTANCES
You must think of all the details that affect the scene:
• How does this scene fit into the rest of the plot?
• The time and place of the scene.
• The set, costumes and props used in the scene.
• The lighting and sound effects used to enhance the scene.
4. THE IMAGINATION
• In order to convey this ‘reality’ to the audience you have to believe in your character.
• Have a clear picture of who your character is – achieved by creating a detailed
history of your character.
Before taking on a role you should ask the following:
• Who is my character?
• How old is my character?
• Where did my character come from?
• What do they want and why?
• Where is my character going?
• What will my character do when he/she gets there?
5. CIRCLES OF ATTENTION
• Helps you to relax and focus on the role.
• By doing this your ‘world’ will be restricted to the mise-en-scene and you will be
able to ‘live’ in the environment on stage.
Think of a pebble being thrown into a pool of water. The ripples radiate outwards
from the centre. You should focus your attention from the smallest ‘circle’, and
slowly expand your focus to include ever increasing areas.
6. UNITS AND OBJECTIVES
• Play can be broken into smaller units of action – each one has their own
objective.
7. SUPER OBJECTIVE AND THE THROUGH-LINE OF ACTION
• Main overall objective in the play.
• The continuous chain of smaller objectives that build towards the main
objective is called the through-line of action.
8. EMOTION MEMORY
• Tapping into your own experiences and emotions when creating
a character.
• Remembering how you felt/behaved helps you to understand how to
play the character.
9. TEMPO-RHYTHM IN MOVEMENT
• Action always has movement, tempo and a specific rhythm.
• Example of a nervous character amongst calm relaxed characters
creates dramatic tension on stage.
• Subtext
10.METHOD OF PHYSICAL ACTION
• Physically working on the text.
• Use improvisation as a way of understanding the text or your role.
• Leads to a performance with greater depth and solidity.
