1. 1 Early Alternatives to Realism (Historical Background)
“Modern theatre” is said to have begun with Saxe-Meiningen, Ibsen, and Zola.
Modernism, however, began with a group of artists identified as symbolists.
Modernism - A broad concept that sees art, including theater, as detached from life in a pure way and able to reflect on life critically.
Symbolism in theatre – emphasizes the internal life of dreams and fantasies; belief that art should represent truths that can only be described indirectly
Modernists abandoned both the scientific and humanist ideal, and substituted their own subjective visions and aesthetic modes (often abstract).
The general purpose was to avoid direct, objective comparison between art and life.
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2. 2 Early Alternatives to Realism (Wagner and the Nonrealistic Theatre)
Richard Wagner ( ) is considered one of the significant forerunners of modernism.
Wagner rejected the contemporary trend toward realism.
He argued that a dramatist’s job was not to record domestic affairs but to create myths.
A dramatist should express the ideal world through the expression of inner impulses and aspirations.
This would unite people as a “folk,” an idea later taken up by the Nazis.
To Wagner, true drama was concerned with the ideal world, which is left behind the moment dialogue is spoken.
He suggested that drama be combined with music instead.
Richard Wagner.
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3. 3 Early Alternatives to Realism (Wagner and the Nonrealistic Theatre)
Wagner argued that music permitted greater control over performance through use of melody and tempo.
He disliked that in spoken drama, interpretation is subject to performers’ personal whims.
For Wagner, the effectiveness of music-drama depended upon both performance and composition.
He argued that the author-composer should supervise every aspect of a production to unify all elements into a “master art work.”
This went on to support the modern theory about the need for a strong director and unified production.
A production of one of Wagner’s operas.
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4. 4 Early Alternatives to Realism (Wagner and the Nonrealistic Theatre)
Wagner’s productions aimed for complete illusion.
Pit orchestra members were not permitted to tune in the pit itself.
Applause was not allowed during performances or during curtain calls at the end.
He sought precise historical accuracy in scenery and costumes.
All of this was in search of the “ideal world” rather than a realistic one.
Though Wagner’s practice was grounded in 19th-century tradition, his ideas about master artwork, unified production, and theatre architecture inspired “modern” theatre.
A production of Wagner’s Lohengrin.
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5. 5 Early Alternatives to Realism (Symbolism)
Symbolists created a “manifesto” in 1885 as a response to the scientific and realistic movements.
The focus became all things unknowable and relative/subjective.
Artists were valued for novelty and experimentation with form, rather than for accurate renditions of recognizable subjects.
To symbolists, subjectivity, spirituality, and mysterious internal and external forces were sources of a truth more profound than that derived from the mere observation of outward appearance.
They argued that this truth could not be represented directly, but could only be evoked through symbols, legends, myths, and moods.
This movement first made an impression in theatre in 1890 with the Théâtre d’Art in France.
Symbolism is achieved in many ways on stage.
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