Theatrical elements[edit]

The most defining characteristics of Expressionism in the theatrical context were the
emphasis on uncovering intense emotions and the failure of societal systems that have been
overlooked. Commonly, Expressionist theatre critiqued the government, big business, the
military, family structures, and sexism.[13] Expressionism shifted emphasis from the text of
pieces to the physical performance and highlighted the director's role in creating a vehicle to
deliver theirs and the playwright's thoughts and feelings to audiences. [14] This shift also
reflected a greater faith in audiences' ability to receive a playwright's message on their own
without complete textual guidance. [15] In early German expressionist theatre, the protagonists
were commonly created to representations of variations on the New Man, one who was
neither too meek or too headstrong, who was intelligent, and who was unafraid to act on
their morals.[16] Structurally, Expressionism in theatre was often characterized by episodic
scenes or station dramas (Stationendramen) which were modeled after the Stations of the
Cross.[17] Machinal by Sophie Treadwell utilized nine episodes to tell the story of Helen Jones
instead of scenes.[18] Expressionist theatre also commonly adopted very general or simple
names for the characters in the plays, like A Man, Woman, or in The Adding Machine, "Mr.
Zero" [19]

Design characteristics[edit]
Expressionist theatre had very different scenic design compared to the theatrical movements
that came before it like naturalism and romanticism.[20] Set pieces and props were typically
used sparingly with much more emphasis on creating striking sound and light design.
[21]
 When scenery was used, it was typically very symbolic and was a purposeful exaggeration
or understatement of the setting.[22] Expressionist scenic design focus was more on aiding in
the delivery of a scene's meaning versus a mere representation of setting. [23] Emil Pirchan,
Ludwig Sievert, and Ernst Stern were very influential expressionist scenic designers. [24]

Famous works and playwrights[edit]

 Georg Kaiser: The Burghers of Calais (written in 1913, first premiered in 1917), From
Morn to Midnight (written in 1912, first staged in 1917) [25]
 Ernst Toller: Transformation (premiered in 1919), Man and the Masses (written in 1920,
first performed in 1923) [26]
 Reinhard Sorge: The Beggar (first performed in 1912) [27]
 Walter Hasenclever: The Son (premiered in 1914) [28]
 Hans Henny Jahnn: Pastor Ephraim Magnus (first staged in 1917), Coronation of
Richard III (first premiered in 1922) [29]
 Arnolt Bronnen: Parricide (first performance in 1922), Bird of Youth (premiered in
1922) [30]
 Eugene O'Neill: The Hairy Ape (first performed in 1922), The Emperor Jones (first
staged in 1920), The Great God Brown (premiered in 1922) [31]
 Sophie Treadwell: Machinal (first premiered in 1928), O Nightingale (first performed in
1925) [32]
 Elmer Rice: The Adding Machine (premiered in 1927), Street Scene (first opened in
1929) [33]
 Lajos Egri: Rapid Transit (first premiered in 1923), Believe Me or Not (first staged in
1933) [34]