19 th Century to Modern Times

Also known as “-isms” Refers to the way a play is written, produced, and acted. Can also affect other elements such as set design, costuming, and effects. It is important to know the various theatre styles in order for an actor (or director or designer) to choose the style of language and action that suits the script and expresses their ideas.

Time period in which it was written. Prevailing culture of that time. Conventions (the “standard” way of doing things for that time) Current popular philosophies.

Representational Presentational Traditional style of theatre; uses the “fourth wall” as if the audience were watching through a window. Can be experimental and avant- garde; acknowledges that the audience is present by having the action take place in the seating area and having characters speak directly to the audience.

Romanticism - Early 19 th Century Naturalism – Mid-19 th Century Realism – Late 19 th Century All of these styles were representational in convention

Rejected neoclassical rules and suggested that genius creates its own rules. Focused on emotions, sentiment, and imagination. Elaborately staged and used supernatural elements. Heroes were independent and defended individuality. Common theme was the gulf between human beings’ spiritual aspirations and their physical limitations.

Edmond Rostand – Cyrano de Bergerac Victor Hugo - Hernani Goethe - Faust Alexander Dumas - The Count of Monte Cristo

Based views on contemporary scientific theory. Aimed to present ordinary life as accurately as possible – no theatrical sense – in the extreme… “slice of life” and “real flies on real meat” Showed how human beings act in response to forces of nature and society that are beyond their control. Subject matter emphasized the boredom, depression, and frustration of contemporary life.

August Strindberg – Miss Julie Eugene O’Neill - The Iceman Cometh John Osborne - Look Back in Anger Sam Shepard - Curse of the Starving Class

Replaced the artificial romantic style with accurate depictions of people in plausible situations. Writers refused to make simple moral judgments or to resolve dramatic action neatly. Presents life as it actually is; characters talk, dress, and act as people in ordinary life do. Actors attempt to become their characters; living their lives in a real room with the audience spying on them through the invisible fourth wall. Ushered in modern theatre and revolutionized contemporary theatre in every aspect, from scenery to styles of acting; from dialogue to makeup.

Anton Chekhov – Uncle Vanya, The Three Sisters Henrik Ibsen - A Doll’s House, Ghosts Arthur Miller - All My Sons Horton Foote - Roads to Home, Valentine Beth Henley - The Impossible Marriage N. Richard Nash – The Rainmaker Agatha Christie – Ten Little Indians Lanford Wilson – Talley’s Folly