realistic play was very intrest to the readers as well as to me and the main thing is in 18th century most of the authors were passionate to read and love to write realistic play as well as realistic stories i was makes the reader in very unmonotonous to the readers

1. 1919thth
Century RealismCentury Realism
1875-19151875-1915

2. RealismRealism
• Drama was to involve the direct observation of humanDrama 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 everydayPeople 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 anIt holds the idea of the stage as an environment, rather than as an
acting platform. It presents a theatrical verisimilitude (true to life) thatacting platform. It presents a theatrical verisimilitude (true to life) that
would morewould more objectivelyobjectively portray life as recognizable to the audience.portray life as recognizable to the audience.
• Not always a neat and happy endingNot always a neat and happy ending

3. According to the Realist view…According to the Realist view…
• General precepts:General precepts:
• Truth is verified through scienceTruth is verified through science
• The scientific method—observation—would solveThe scientific method—observation—would solve
everythingeverything
• Scientific methodology can apply to human problemScientific 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 attentionPurpose 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

4. Realism in ArtRealism in Art
Courbet’s Spinner Daumier’s Third Class Carriage

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

6. Realism PlaysRealism Plays
• A Doll's HouseA Doll's House by Henrik Ibsenby Henrik Ibsen
• The Cherry OrchardThe Cherry Orchard by Anton Chekhovby Anton Chekhov
• Uncle VanyaUncle Vanya by Anton Chekhovby Anton Chekhov
• Major BarbaraMajor Barbara by George Bernard Shawby George Bernard Shaw

7. A Doll’s House (1879)A Doll’s House (1879)
• The play focuses on Nora, a womanThe play focuses on Nora, a woman
trapped in a marriage in which she istrapped in a marriage in which she is
treated by her husband as an object – atreated by her husband as an object – a
doll – as she was treated by her fatherdoll – as she was treated by her father
previously.previously.
• When she innocently gets into troubleWhen she innocently gets into trouble
over a financial arrangement by usingover a financial arrangement by using
forgery, her husband Torvald does notforgery, her husband Torvald does not
stand behind her, even though it was tostand behind her, even though it was to
save him. She discovers her unequalsave him. She discovers her unequal
status in her home when her forgery isstatus in her home when her forgery is
revealed in a letter sent to Torvald by arevealed in a letter sent to Torvald by a
fired employee, Krogstad. Even whenfired employee, Krogstad. Even when
Krogstad takes back the letter because heKrogstad 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 liveNora realizes that she can no longer live
with Torvald in a relationship in whichwith Torvald in a relationship in which
she is treated like a child. The playshe 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.

8. Constantin StanislavskiConstantin Stanislavski
• Founder of the Stanislavskian Technique orFounder of the Stanislavskian Technique or
Method ActingMethod Acting
• ““The actor must first of all believe in everything thatThe actor must first of all believe in everything that
takes place onstage, and most of all, he must believetakes place onstage, and most of all, he must believe
what he himself is doing. And one can believe only inwhat he himself is doing. And one can believe only in
the truth.”the truth.”
• He developed a series of exercises and techniquesHe developed a series of exercises and techniques
for the actor which is still being used today byfor the actor which is still being used today by
famous actors in films and on stage.famous actors in films and on stage.

9. Stanislavskian TechniquesStanislavskian Techniques
• RelaxationRelaxation
• Unwanted tension has to be eliminated to attain a state of physicalUnwanted 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 shouldA 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 vaguenever 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 virtuallyThe “Magic If” – through it we can imagine ourselves in virtually
any situationany situation

10. 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 theWhat 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 loseMany performers tended to “stop acting” or lose
concentration when they were not the main character inconcentration when they were not the main character in
a scene, which weakens the sense of ensemblea scene, which weakens the sense of ensemble

11. Naturalism vs. RealismNaturalism vs. Realism
• Naturalism was an extreme form of Realism whereNaturalism was an extreme form of Realism where
all characters were the product of theirall characters were the product of their
environment.environment.
• Decisions were made based on what nature hadDecisions were made based on what nature had
caused.caused.
• If a person stole bread, it was justified because he wasIf 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.

12. Two Kinds of NaturalismTwo Kinds of Naturalism
• Naturalism ANaturalism A
• Playwright takes a troubling social problem and puts it on stage withoutPlaywright takes a troubling social problem and puts it on stage without
any attempt to change things or alter anything so the audience can look atany 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 onThe 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 toOBJECTIVITY 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 ofWe 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 bePresumes the audience feels the same way and presumes objectivity can be
shownshown

13. Two Kinds of NaturalismTwo Kinds of Naturalism
• Naturalism BNaturalism B
• Objectivity disappears – the artist takes a situation that isObjectivity disappears – the artist takes a situation that is
morally despicable and puts it on probably worse than it is andmorally despicable and puts it on probably worse than it is and
doesn’t do anything to soften it up so that people will thinkdoesn’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 ofThe 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 Labuteby Neil Labute
• Problem with Naturalism BProblem with Naturalism B
• Deals with people behaving horribly and getting away with itDeals 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

14. Realism v. NaturalismRealism v. Naturalism
• A realist attacking naturalism:A realist attacking naturalism:
• Ibsen: “M. Zola descends to the gutter toIbsen: “M. Zola descends to the gutter to
wallow in it. I descend to the gutter to clean itwallow in it. I descend to the gutter to clean it
up.”up.”
• Zola's answer is more of “I'm putting itZola's answer is more of “I'm putting it
there so the audience is the raisseneur; thethere 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...'”

15. 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
• FoundedFounded 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 andAn actor’s body could be trained to operate like a machine and
through physical actions, performers could evoke desiredthrough physical actions, performers could evoke desired
internal responses in themselves and their audienceinternal responses in themselves and their audience
• UsedUsed constructivist setsconstructivist sets, which used skeletal, which used skeletal
frames, ramps, stairways and platforms not meantframes, ramps, stairways and platforms not meant
to indicate a specific locationto indicate a specific location

16. Constructivist SetConstructivist Set