SPENG 10

ASSIGNMENT NO. 2

GORERO, ROSEMARIE D.
BSED ENGLISH 3-1
 Naturalism
Is a movement in European drama and theatre that developed in the late 19th and early 20th
centuries. It refers to theatre that attempts to create an illusion of reality through a range of
dramatic and theatrical strategies. Interest in naturalism especially flourished with the French
playwrights of the time, but the most successful example is Strindberg's play Miss Julie, which
was written with the intention to abide by both his own particular version of naturalism, and also
the version described by the French novelist and literary theoretician, Émile Zola.

Realism
in the theatre was a general movement that began in 19th-century theatre, around the 1870s, and
remained present through much of the 20th century. It developed a set of dramatic and theatrical
conventions with the aim of bringing a greater fidelity of real life to texts and performances. These
conventions occur in the text, (set, costume, sound, and lighting) design, performance style, and narrative
structure. They include recreating on stage a facsimile of real life except missing a fourth wall (on
proscenium arch stages). Characters speak in naturalistic, authentic dialogue without verse or poetic
stylings, and acting is meant to emulate human behaviour in real life. Narratives typically are
psychologically driven, and include day-to-day, ordinary scenarios. Narrative action moves forward in
time, and supernatural presences (gods, ghosts, fantastic phenomena) do not occur. Sound and music are
diegetic only. Part of a broader artistic movement, it includes Naturalism and Socialist realism.

Dadaism
was an art movement of the European avant-garde in the early 20th century, with early centres in
Zürich, Switzerland, at the Cabaret Voltaire (c. 1916). New York Dada began c. 1915,and after 1920
Dada flourished in Paris. Dadaist activities lasted until c. the mid 1920s.
Developed in reaction to World War I, the Dada movement consisted of artists who rejected the logic,
reason, and aestheticism of modern capitalist society, instead expressing nonsense, irrationality, and
anti-bourgeois protest in their works.[4][5][6] The art of the movement spanned visual, literary, and
sound media, including collage, sound poetry, cut-up writing, and sculpture. Dadaist artists
expressed their discontent toward violence, war, and nationalism, and maintained political affinities
with radical left-wing and far-left politics

Expressionism
was a movement in drama and theatre that principally developed in Germany in the early decades of the 20th
century. It was then popularized in the United States, Spain, China, the U.K., and all around the world. Similar to
the broader movement of Expressionism in the arts, Expressionist theatre utilized theatrical elements and scenery
with exaggeration and distortion to deliver strong feelings and ideas to audiences.

Surrealism
was a cultural movement which developed in Europe in the aftermath of World War I and was largely
influenced by Dada. The movement is best known for its visual artworks and writings and the juxtaposition of
distant realities to activate the unconscious mind through the imagery. Artists painted unnerving, illogical
scenes, sometimes with photographic precision, creating strange creatures from everyday objects, and
developing painting techniques that allowed the unconscious to express itself.Its aim was, according to leader
André Breton, to "resolve the previously contradictory conditions of dream and reality into an absolute reality,
a super-reality", or surreality
 The Theatre of Cruelty

(French: Théâtre de la Cruauté, also French: Théâtre cruel) is a form of

theatre generally associated with Antonin Artaud. Artaud, who was briefly a
member of the surrealist movement, outlined his theories in The Theatre and
its Double. The Theatre of Cruelty can be seen as a break from traditional
Western theatre and a means by which artists assault the senses of the
audience. Artaud's works have been highly influential on artists including
Jean Genet, Jerzy Grotowski, Peter Brook, and Romeo Castellucci
Theatre of the Absurd
(French: théâtre de l'absurde [teɑtʁ(ə) də lapsyʁd]) is a post–World War II designation for
particular plays of absurdist fiction written by a number of primarily European
playwrights in the late 1950s. It is also a term for the style of theatre the plays represent.
The plays focus largely on ideas of existentialism and express what happens when human
existence lacks meaning or purpose and communication breaks down. The structure of the
plays is typically a round shape, with the finishing point the same as the starting point.
Logical construction and argument give way to irrational and illogical speech and to the
ultimate conclusion—silence.
Postmodernism
Postmodern theatre is a recent phenomenon in world theatre, coming as it does out of the
postmodern philosophy that originated in Europe in the middle of the twentieth century.
Postmodern theatre emerged as a reaction against modernist theatre. Most postmodern
productions are centered on highlighting the fallibility of definite truth, instead encouraging the
audience to reach their own individual understanding. Essentially, thus, postmodern theatre
raises questions rather than attempting to supply answers.

Agitprop
from Russian, tr. Agitpróp, portmanteau of agitatsiya, "agitation" and propaganda,
"propaganda") refers to an intentional, vigorous promulgation of ideas. The term
originated in Soviet Russia where it referred to popular media, such as literature, plays,
pamphlets, films, and other art forms, with an explicitly political message in favor of
communism.
Agitprop is a shortened name for the Department for Agitation and Propaganda of the
Communist Party. It gave rise to agitprop theatre, a highly politicized theatre that
originated in 1920s Europe and spread to the U.S. after World War Two.