Realism Absurdism

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Realism

 characters are believable, everyday types


 costumes are authentic
 the realist movement in the theatre and subsequent performance style have
greatly influenced 20th century theatre and cinema and its effects are still
being felt today
 triggered by Stanislavski’s system of realistic acting at the turn of the 20th
century, America grabbed hold of its own brand of this performance style
(American realism) and acting (method acting) in the 1930s, 40s and 50s (The
Group Theatre, The Actors Studio)
 attention to material detail
 includes psychological realism – cause and effect of material circumstances
on the human psyche
 illusion of material reality
 three-dimensional sets
 action that is psychologically understandable
 linear – plot structure with a beginning, and middle and an end
 character that can be explained by circumstances
 middle class/working class settings
 linear action --
 everyday speech
 fourth-wall drama – the ‘well-made play’
 stage settings (locations) and props are often indoors and believable
 the ‘box set’ is normally used for realistic dramas on stage, consisting of three
walls and an invisible ‘fourth wall’ facing the audience
 settings for realistic plays are often bland (deliberately ordinary), dialogue is
not heightened for effect, but that of everyday speech (vernacular)
 the drama is typically psychologically driven, where the plot is secondary and
primary focus is placed on the interior lives of characters, their motives, the
reactions of others etc.
 realistic plays often see the protagonist (main character) rise up against the
odds to assert him/herself against an injustice of some kind (eg. Nora in
Ibsen’s A Doll’s House)
 realistic dramas quickly gained popularity because the everyday person in the
audience could identify with the situations and characters on stage
 Norwegian playwright Henrik Ibsen (A Doll’s House, Hedda Gabler) is
considered the father of modern realism in the theatre

Absurd Theatre

Essential traits

 departs from realistic characters


 time, place and identity are ambiguous and fluid
 meaningless plots
 repetitive or nonsensical dialogue
 dramatic non-sequiturs
 dream-like, or even nightmare-like moods
 asks its audience to "draw his own conclusions, make his own errors"
 Martin Esslin says: If a good play must have a cleverly constructed story,
these have no story or plot to speak of: if a good play is judged by subtlety of
characterization and motivation, these are often without recognizable
characters and present the audience with almost mechanical puppets; if a
good play has to have a fully explained theme, which is neatly exposed and
finally solved, these often have neither a beginning, nor an end; if a good play
is to hold the mirror up to nature and portray the manners and mannerisms of
the age in finely observed sketches, these seem often to be reflections of
dreams and nightmares; if a good play relies on witty repartee and pointed
dialogue, these often consist of incoherent babblings.

Language

 nonsense language
 moments when characters resort to nonsense language or clichés–when
words appear to have lost their denotative function, thus creating
misunderstanding among the characters
 language without actually communicating anything substantive or making a
human connection
 breakdown of communication

 Plot

 the line between theatre and reality starts to blur


 frequently cyclical

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