Essential Theatre Chapter 6 page 1 of 6

CHAPTER 6
FROM ROMANTICISM TO REALISM
Terms
SLICE OF LIFE
UNIT OF !RO"UCTION
ANTON C#E$#O%
ASI"E
&O' SET
EMILE (OLA
)EOR) II* "U$E OF SA'E+MEININ)EN
#ENRI$ I&SEN
$ONSTANTIN STANISLA%S$
LIMELI)#T
MELO"RAMA
MOSCO, ART T#EATRE
NATURALISM
!ANORAMA
REALISM
REALISTIC S!ECTACLE
STANISLA%S$-S ACTIN) SSTEM
SU&TE'T
T#E IN"E!EN"ENT T#EATRE MO%EMENT
T#EATRE LI&RE
,A)NER-S FESTI%AL T#EATRE
Outline
I. MELODRAMA
A. Melo/ra0a 1as the pop2lar+32lt2re 0anifestation of Ro0anti3is0
1. It 1as the 0ost pop2lar /ra0ati3 for0 of the 14
th
3ent2r5
6. It e0phasi7e/ a 3lear 0oral tone an/ s2spensef2l plots
a. A 8irt2o2s protagonist 1as ho2n/e/ 95 a 8illain an/ then res32e/ fro0 see0ingl5
ins2r0o2nta9le /iffi32lties
:. All i0portant e8ents o332rre/ on stage ;ena3te/ rather than si0pl5 /es3ri9e/<
a. The5 pro8i/e/ a0ple opport2nit5 for ela9oratel5 stage/ spe3ta3les
=. T5pi3al plot /e8i3es in3l2/e/ 0ista>en i/entit5* a9/23tion* strange 3oin3i/en3es* an/ hi//en
/o320ents
?. A ser8ant* all5 or 3o0panion s2pplie/ 3o0i3 relief
6. Melo/ra0a affir0e/ poeti3 @2sti3e A the e8il 1ere p2nishe/* the goo/ re1ar/e/
&. Melo/ra0a ha/ a large 02si3al ele0ent ;Melo/ra0a 0eans 02si3 /ra0a<
1. A 02si3al s3ore a33o0panie/ the a3tion to enhan3e it an/ its e0otional tone
6. Man5 of 0elo/ra0a-s feat2res 1ere ta>en o8er 95 fil0 in the 6B
th
3ent2r5
a. Ste8en Spiel9erg-s In/iana Cones fil0s pro8i/e eD3ellent eDa0ples
C. Changes in so3ial an/ e3ono0i3 3on/itions ste00ing fro0 the in/2strial re8ol2tion partiall5
eDplain the pop2larit5 of 0elo/ra0a in the 14
th
3ent2r5
1. ,or>ers ha/ to li8e near fa3tories an/ 2r9ani7ation 3reate/ large potential a2/ien3es
6. These 1or>ers nee/e/ entertain0ent an/ 0elo/ra0a pro8i/e/ that 1hile affir0ing their
hopes for a 9etter life in an eD3iting 0anner
Essential Theatre Chapter 6 page 6 of 6
". &et1een 1EBB an/ 1E?B* Lon/on-s pop2lation /o29le/. The n209er of its theatres gre1 fro0 6
or : to 0ore than 6B
1. Theatres so2ght to attra3t the largest possi9le a2/ien3es
a. Melo/ra0a an/ 8ariet5 entertain0ent ha/ the largest 0ass appeal
6. "2ring the last half of the 14
th
3ent2r5* ea3h theatre 9egan to ai0 its progra00ing at a
spe3ifi3 seg0ent of the pop2lation
E. &e3a2se the pattern of 0elo/ra0a is al1a5s the sa0e* 8ariet5 1as gaine/ thro2gh no8eltiesF
1. EDoti3 lo3ales
6. ,ater tan>s for aG2ati3 pla5s
:. Realisti3 spe3ta3le ;in3l2/ing onstage 8ol3ani3 er2ptions<
=. The latest te3hnolog5 an/ in8entions 1ere 2se/* s23h as a 3a0era in The O3toroon 95 "ion
&o23i3a2lt ;1E?4<
?. "ra0ati7ations of pop2lar no8els or notorio2s 3ri0es 1ere perfor0e/
F. After ele3tri3it5 9e3a0e 3o00on in the 1EEBs* ele3tri3 0otors 1ere 2se/ 1ith trea/0ills for horse
an/ 3hariot ra3es
1. Mo8ing panora0as 1ere s2spen/e/ at the rear of the stage* 3reating the effe3t that the
horses ra3ing aro2n/ a tra3>
a. &en #2r-s 3hariot ra3e A in 0an5 theatres 95 14BB
6. The tren/ 1as to1ar/ e8er 0ore realisti3 effe3ts
a. Fil0 inherite/ this tra/ition
). In 0elo/ra0a* realisti3 spe3ta3le* thrilling effe3ts* no8elt5* s2spense an/ the 8in/i3ation of 8irt2e
1ere the 0a@or appeals
1. ,hereas it en3o2rage/ the /e8elop0ent of realis0 in 8is2al aspe3ts of theatre* 0elo/ra0a
3l2ng to stereot5pes in its 3hara3teri7ation an/ 0oral o2tloo>
BOX Audience Behavior
So0e sa5 that the infl2D of 1or>ing+3lass spe3tators into the 14
th
+3ent2r5 theatre* an/
their 9eha8ior on3e there* /ro8e a1a5 the 0ore refine/ seg0ent of the a2/ien3e
Co00ents 0a/e 95 foreign 8isitors to the English theatre s2pport this 3on3l2sion*
noting that the 8o3al a2/ien3e response to the a3tion so0eti0es see0e/ 3r2/e an/
/istra3ting
BOX Scenes o Sus!ense and S!ec"ac#e in Me#odra$a
M23h of the appeal of 0elo/ra0a la5 in the s2spense 3reate/ 95 pla3ing s50patheti3
3hara3ters in great /anger an/ 95 their last+0in2te res32e
Ma/e 0ore 95 attra3ti8e 95 spe3ta32lar s3eni3 3ontri8an3es
Uncle Toms Cabin A Eli7a es3apes fro0 her p2rs2ers ;1ith 9loo/ho2n/s< 95
floating a3ross the Ohio ri8er on a pie3e of i3e
BOX The Appeal of Melodrama
Melo/ra0a 8ali/ate/ the 3lai0 of or/inar5 people to a >in/ of aristo3ra35 9ase/ on 8irt2e
an/ personal integrit5 rather than 1ealth an/ po1er
It too> the li8es of 3o00on people serio2sl5 an/ pai/ respe3t to their s2perior p2rit5 an/
1is/o0
It hel/ 2p i/eals an/ pro0ise/ re1ar/s
Its 0oral para9le str2ggle/ to re3on3ile so3ial fears 1ith the perio/-s 3onfi/en3e in a9sol2te
0oral stan/ar/s* 0an-s 2p1ar/ progress* an/ a 9ene8olent pro8i/en3e that ins2re/ the
Essential Theatre Chapter 6 page : of 6
II. THE AD%E&T O' REALISM
A. As 0elo/ra0a 1as pea>ing in pop2larit5* other theories an/ 9eliefs 1ere 2n/er0ining the
a9sol2tist 0oral 8al2es on 1hi3h it /epen/e/
&. In the late 14
th
3ent2r5* a n209er of intelle3t2al an/ s3ientifi3 /e8elop0ents 3alle/ 0an5 9i9li3al
passages into G2estion.
1. Contro8ersies er2pte/ o8er /is3o8eries in geolog5 an/ anthropolog5
6. Charles "ar1in-s The Origin of Spe3ies + 1E?4
C. "ar1in-s theories ha/ 0an5 i0pli3ationsF
1. #ere/it5 an/ en8iron0ent 0a5 infl2en3e e8er5thing h20ans are an/ /o
6. ConseG2entl5* in/i8i/2als 3annot 9e hel/ f2ll5 a33o2nta9le for their a3tions
:. #is theories strengthene/ the notion that progress ;i0pro8e0ent< is ine8ita9le
=. The5 3ontra/i3te/ the 9i9li3al a33o2nt of 3reation
?. #20anit5 0ight 9e 8ie1e/ as a part of nat2re* rather than set apart an/ s2perior to it
". These i0pli3ations 1ere 3r23ial in the /e8elop0ent of the 0o/ern te0pera0ent 9e3a2se the5
s2ggeste/ that 3hange is the nor0
1. Con3epts of right an/ 1rong 0ight 8ar5 fro0 one so3iet5 to another rather than stan/ as
a9sol2tes
E. Ne1 i/eas a9o2t h20an 3ons3ien3e 1ere state/ 0ost f2ll5 in the 1ritings of Sig02n/ Fre2/
1. !re8io2sl5* 0ost people 9elie8e/ that 3ons3ien3e is innate
a. Melo/ra0a is 92ilt on this pre0ise
6. Fre2/ theori7e/ that 3ons3ien3e is relati8e to the in/i8i/2al an/ the pro3ess of so3iali7ation
a. So3iali7ation s2ppresses instin3ti8e /esires an/ 2rges
9. ,e 0a5 ne8er f2ll5 2n/erstan/ the 0oti8ations of others* nor e8en o2r o1n
i. ,e 02st 9e a1are of the s29teDt ;3o8ert 0eaning< 9eneath 1hat is sai/ an/ /one
F. A33or/ing to this 8ie1* not onl5 are 0oral 8al2es relati8e* 92t lang2age an/ 9eha8ior are onl5
partiall5 relia9le in/i3ators of a person-s state of 0in/ an/ 0oti8es
). This notion of relati8it5 e8ent2all5 affe3te/ nearl5 e8er5 area of tho2ght an/ a3tion* in3l2/ing the
theatre
III. REALISM A&D &AT(RALISM
A. Realis0 1as first re3ogni7e/ /2ring the 1E?BsH nat2ralis0 1as first re3ogni7e/ /2ring the 1EIBs.
1. Sin3e aro2n/ 1EBB* realisti3 s3ener5 an/ 3ost20es ha/ 9een 2se/ to pro8i/e spe3ta32lar or
pi3t2resG2e 9a3>gro2n/
6. &2t Realis0 an/ nat2ralis0 1ere 9ase/ on the i/ea that en8iron0ent shapes 3hara3ter
a. Setting 1as re3on3ei8e/ of as an en8iron0ental fa3tor an/ not 0erel5 a pi3t2resG2e
9a3>gro2n/
9. Ea3h pla5-s s3eni3 nee/s 1ere therefore 8ie1e/ as 2niG2e an/ parti32lar eDpressions
&. The 8ie1s of realists an/ nat2ralists 1ere gro2n/e/ in the s3ientifi3 o2tloo> A the nee/ to
2n/erstan/ h20an 9eha8ior in ter0s of nat2ral 3a2se an/ effe3t. ConseG2entl5F
1. Tr2th 3an onl5 9e 8erifie/ thro2gh the senses
6. !la51rights sho2l/ onl5 1rite a9o2t the so3iet5 aro2n/ the0* an/ /o so o9@e3ti8el5.
a. !la5s 1ere 1ritten therefore a9o2t 3onte0porar5 s29@e3ts
9. !la5s portra5e/ 9eha8ior not pre8io2sl5 stage/ or tho2ght of as fit for p29li3 presentation
Essential Theatre Chapter 6 page = of 6
:. Contro8ers5 er2pte/ o8er the portra5al of s23h tr2ths
=. The real iss2e 1as the role of art in so3iet5
a. A9sol2te 8ers2s relati8e 8al2es.
9. Aro2n/ 1EEB* #enri> I9sen ;often 3alle/ the fo2n/er of 0o/ern /ra0a< 9ro2ght these
iss2es into fo32s
?. The en/ing of I9sen-s pla5s /i/ not reaffir0 a33epte/ 8al2es
a. Man5 of his pla5s 1ere /enie/ pro/23tion 9e3a2se the5 1ere tho2ght to 9e i00oral an/
3orr2pting
C. Ne8ertheless* these pla5s 1ere 1i/el5 rea/ an/ /is32sse/* espe3iall5 9e3a2se the5 1ere tho2ght
to 3hallenge 0oral 8al2es an/ so3ial nor0s
I%. THE EMER)E&CE O' THE DIRECTOR
A. Thro2gho2t histor5* so0eone ass20e/ responsi9ilit5 for staging pla5s
1. In the )ree> theatre it 1as the pla51right
6. In later ti0es it 1as the hea/ of the 3o0pan5* 2s2all5 a lea/ a3tor or pla51right
&. A 3on8ergen3e of se8eral 3o0pleD /e8elop0ents le/ to the e0ergen3e of the 0o/ern /ire3tor
1. The gro1ing nee/ for so0eone to 3oor/inate an/ 2nif5 all the ele0ents of a pro/23tion
a. In the past* s3eni3 an/ 3ost20e ele0ents 1ere generali7e/ an/ for0ali7e/* reG2iring
little attention.
C. A3ting 1as also 3on8entionali7e/ /2ring the perio/ prior to the 14
th
3ent2r5 in that a3tors 1ere
hire/ a33or/ing to lines of 92siness.
1. A3tors 2s2all5 stoo/ near the front of the stage an/ /eli8ere/ their lines /ire3tl5 to the
a2/ien3e
6. Stage 0o8e0ent pla3e/ 1ho0e8er 1as spea>ing at 3enter + a 3on8ention all a3tors
2n/erstoo/
:. Rehearsals 1ere fe1
". As the 14
th
3ent2r5 progresse/ the theatre 9e3a0e 0ore 3o0pleD as the n209er an/ spe3ifi3it5
of settings an/ 3ost20es in3rease/.
1. Melo/ra0a-s effe3ts reG2ire/ split+se3on/ ti0ing an/ pre3ise stage 92siness
6. &oD sets ser8e/ to alter 0o8e0ent patterns
:. These 3hanges reG2ire/ in3rease/ s2per8ision* 3oor/ination an/ rehearsal
=. The nee/ for greater 2nit5 an/ 3ontrol 9e3a0e in3reasingl5 e8i/ent
E. The a33eptan3e of the 0o/ern /ire3tor o1es 0ost to t1o infl2en3esF ,agner an/ SaDe+
Meiningen
BOX Critical Reaction to Ibsen
It is /iffi32lt for 2s to 2n/erstan/ ho1 8iolent a response I9sen-s pla5s e8o>e/ 1hen the5 first
appeare/
I9sen-s Ghosts a/0itte/ ;p29li3l5< that /i8or3e an/ s5philis eDiste/
To 0an5 it see0e/ that I9sen 1as atta3>ing the fa0il5 an/ 8iolating 3o00on stan/ar/s of
/e3en35
I9sen-s per3eption of 1o0en 1as also o2t of step 1ith a ti0e in 1hi3h 1o0en 1ere so3iall5
eDpe3te/ to a33ept a s29ser8ient role to their fathers or h2s9an/s
A 1o0an 3annot 9e herself in the so3iet5 of the present /a5* 1hi3h is an eD3l2si8el5
0as32line so3iet5* 1ith la1s fra0e/ 95 0en an/ 1ith a @2/i3ial s5ste0 that @2/ges fe0inine
3on/23t fro0 a 0as32line point of 8ie1.
Essential Theatre Chapter 6 page ? of 6
1. Ri3har/ ,agner so2ght to 3reate 0aster art1or> thro2gh a f2sion of all the arts
a. Most of his stories for his operas are fro0 )er0an 05ths
9. #e 1ishe/ to 3reate a theatri3al eDperien3e that 1o2l/ /ra1 the a2/ien3e o2t of its
e8er5/a5* 02n/ane eDisten3e into an i/eali7e/* 3o002nal* near+religio2s eDperien3e.
F. To reali7e his goal* ,agner ha/ a ne1 >in/ of theatre ere3te/ in &a5re2th* )er0an5 ;1EI6<
1. It 1as the first 0o/ern theatre to /o a1a5 1ith the 9oD* pit an/ galler5 arrange0ent
6. "e0o3rati3 arrange0ent of seating + all a2/ien3e 0e09ers sit together in an arrange0ent
that s2ppose/l5 allo1e/ e8er5one to see an/ hear the a3tion eG2all5 1ell
a. This arrange0ent set the pattern for 0ost 6B
th
3ent2r5 theatres
:. It 1as one of the first theatres to /ar>en the a2/itori20 /2ring perfor0an3es to 0ore f2ll5
/isting2ish the 1orl/ of spe3tators fro0 that of the stage
=. Strong /e0an/ for 2nit5 of pro/23tion A e8er5thing filtere/ thro2gh a single 3ons3io2sness
to a3hie8e a 2nifie/ artisti3 effe3t
a. Most 6B
th
3ent2r5 i/eas a9o2t staging follo1e/ the 2nit5 of pro/23tion prin3iple
). )eorg II* /2>e of SaDe+Meiningen* is no1 2s2all5 3onsi/ere/ the 1
st
/ire3tor in the 0o/ern sense
1. The r2ler of a s0all )er0an state
6. #e o1ne/ his o1n theatre 3o0pan5
:. #is 3o0pan5 to2re/ thro2gho2t E2rope fro0 1EI=+1E4B
=. #is fa0e ste00e/ fro0 the 3o0pan5-s /ire3torial pra3ti3es
?. SaDe+Meiningen ha/ 3o0plete 3ontrol o8er e8er5 aspe3t of pro/23tion
6. Cro1/ s3enes 1ere stage/ 1ith great pre3ision* 8ariet5* an/ e0otional po1er
I. The total stage pi3t2re 1as 1or>e/ o2t 0o0ent+95+0o0ent
E. SaDe+Meiningen-s pra3ti3e 8ali/ate/ 0an5 of ,agner-s 8ie1s
%. THE I&DEPE&DE&T THEATRE MO%EME&T
A. &5 the 1EEBs* inno8ati8e pla5s 95 realists an/ nat2ralists ha/ appeare/* 92t 3ensorship ha/ >ept
0ost of the0 fro0 pro/23tion
1. The ne1 /ra0a an/ the ne1 staging re0aine/ isolate/ fro0 ea3h other
&. Thro2gho2t E2rope* pla5s 3o2l/ not 9e p29li3l5 perfor0e/ 2ntil a 3ensor ha/ appro8e/ the0
1. Censors 1o2l/ not li3ense so0e of I9sen-s pla5s* 92t pri8ate perfor0an3es 1ere not s29@e3t
to 3ensorship
a. A n209er of s0all* in/epen/ent theatres eDploite/ this loophole
i. Open onl5 to s29s3ri9ing 0e09ers
ii. Not s29@e3t to 3ensorship
iii. The in/epen/ent theatres 1ere a9le to 2nite the ne1 /ra0a 1ith the ne1 staging
te3hniG2es
C. In/epen/ent theatres 3roppe/ 2p in Fran3e* )er0an5 an/ Englan/
1. The ThJKtre Li9re* fo2n/e/ in !aris 95 An/rJ Antoine in 1EEI* pro/23e/ the pla5s of (ola an/
I9sen
6. The Freie &Lhne* 1hi3h arose in &erlin in 1EE4* pro8i/e/ a hearing for ne1 pla51rights
:. In Lon/on* The In/epen/ent Theatre 1as fo2n/e/ in 1E41
a. Its ina2g2ral pro/23tion* I9sen-s )hosts* 3reate/ an enor0o2s s3an/al
9. It in/23e/ )eorge &ernar/ Sha1 to 1rite pla5s that 2se/ 3o0e/5 to pro8o>e a2/ien3es
into reassessing their 8al2es
". These in/epen/ent theatres 0et an i0portant nee/ an/ also esta9lishe/ a signifi3ant pre3e/ent
for inno8ati8e theatre 3o0panies /e8ote/ to parti32lar agen/as or 8al2es
Essential Theatre Chapter 6 page 6 of 6
E. The Mos3o1 Art Theatre e0erge/ fro0 the in/epen/ent theatre 0o8e0ent
1. Fo2n/e/ in 1E4E 95 $onstantin Stanisla8s>5 an/ %la/i0ir Ne0ero8i3h+"an3hen>o
6. A3hie8e/ its first 0a@or s233esses 1ith the pla5s of Anton Che>ho8
a. Che>ho8-s pla5s /epi3t the 0onoton5 an/ fr2strations of pro8in3ial life
9. #is 3hara3ters 3on3eal as 023h as the5 re8eal in their responses
3. In his pla5s s29teDt is often as i0portant as the spo>en lines
/. #is pla5s a/0it a 3o0pleDit5 of h20an 9eings an/ a3tion that /on-t easil5 3onfor0 to
stri3t /ra0ati3 t5pes
F. Stanisla8s>5-s s5ste0 of a3ting A the 0ost per8asi8e infl2en3e on a3ting /2ring the 6B
th
3ent2r5 A
is one of the greatest 3ontri92tions asso3iate/ 1ith the Mos3o1 Art Theatre
1. Stanisla8s>5-s s5ste0 3ontaine/ se8eral 9asi3 pre0ises that are still 3onsi/ere/ the 9est+
>no1n atte0pts to /es3ri9e 1hat is ne3essar5 for effe3ti8e a3tingF
a. The a3tor-s 9o/5 an/ 8oi3e 02st 9e traine/ an/ fleDi9le
9. To a3t tr2thf2ll5* the a3tor 02st 9e a s>ille/ o9ser8er of h20an 9eha8ior
3. A3tors 02st 2n/erstan/ a 3hara3ter-s 0oti8ations an/ goals in ea3h s3ene an/ in the
pla5 as a 1hole* as 1ell as ea3h 3hara3ter-s relationship to all the other roles an/ to the
/ra0ati3 a3tion
/. A3tors 0a5 pro@e3t the0sel8es into the 1orl/ of the pla5 thro2gh the 0agi3 if
e. A3tors sho2l/ 3on3entrate 0o0ent 95 0o0ent* as if the e8ents 1ere happening
spontaneo2sl5 an/ for the first ti0e.
). Stanisla8s>5 so2ght in his s5ste0 to /eal 1ith all aspe3ts of a3ting.
#. &5 the late 14
th
3ent2r5* realis0 in the theatre 1as 1ell esta9lishe/
1. A logi3al 32l0ination of /e8elop0ents that 9egan in the Renaissan3e
6. Melo/ra0a an/ realis0 /iffere/ in their 8ie1s of tr2th an/ 8al2es
:. &5 2n/er0ining Melo/ra0a-s a9sol2tist 8al2es* a path1a5 1as opene/ for those i/eas an/
pra3ti3es that ha8e 3o0e to 9e la9ele/ 0o/ernist
BOX S"anis#avs*+
The R2ssian 3reator of the 0ost infl2ential a3ting s5ste0 of the 6B
th
3ent2r5
So2ght to a3hie8e the highest le8el of ense09le pla5ing in pro/23tions that 1o2l/ 0a>e the
/ra0ati3 a3tion 3lear thro2gh si0ple* nat2ral a3ting* e0phasi7ing inner tr2th rather than
eDternal effe3t
Contin2e/ his sear3h for a s5ste0ati3 approa3h to a3ting an/ p29lishe/ se8eral 9oo>s on
aspe3ts of it