En el trabajo III los temas a estudiar son de tu libre elección, y basándote en las fichas de lectura, notas de representaciones o documentación propia elaborada en persona hablarás de una escuela teatral determinada, o una corriente teatral en particular o del desarrollo de un fenómeno teatral y cómo éste evoluciona o cambia.


En este trabajo voy a definir y tratare de abordar la influencia de realismo en el teatro hoy en día. En contrario de Brecht que amina a su audiencia a ‘Stop that romantic staring’ y su proposito de la obra es que no es realista, el movimiento del realismo en el teatro tiene la opinión de que el teatro debería ser una representación del mundo donde vivimos. William Dean Howells dijo que; “Realism is nothing more and nothing less than the truthful treatment of material.” [1] Para comenzar, debemos hacer hincapié en la diferencia entre realismo y naturalismo. Naturalismo es, ‘a more deliberate kind of realism…the term naturalistic in drama usually has a broader application, denoting a very detailed illusion of real life on the stage’[2] En cuanto a realismo, se puede constatar que, ‘Realism passes over into the movement of naturalism, in which sociological investigation and determinist views of human behaviour predominate’.

 

No obstante hay semejanzas entre ellos, ‘Both movements—realism in the 1850s and naturalism in the 1870s—presented familiar characters in specific environments, such as living rooms, kitchens, or flophouses. Visual elements—such as clothing, furnishings, and stage properties—became very specific to the environment. Actors worked within a picture-frame stage—a stage separated from the audience by an arch or rectangular frame—with the understanding that the imaginary fourth wall of their environment was removed to allow audiences to look into the lives of the characters. Dramatists who pioneered the writing of plays for the new realist production style include Henrik Ibsen of Norway, August Strindberg of Sweden, Émile Zola of France, and Leo Tolstoy and Anton Chekhov of Russia’[3]

Henrik Ibsen (1828-1906) se consideró estar, ‘the father of modern realistic drama’. Además; ‘Ibsen perfected the well-made play formula. He discarded soliloquies, asides, etc. Exposition in the plays was motivated, there were causally related scenes, inner psychological motivation was emphasized, the environment had an influence on characters’ personalities, and all the things characters did and all of things the characters used revealed their socio-economic milieu. He became a model for later realistic writers’[4]

Cabe destacar igualmente que George Bernard Shaw tiene una gran influencia en el teatro del realismo, ‘It is not only that Mr Shaw gives us more details than are commonly given concerning the setting of his plays; he goes into the past history of his characters’[5].

 

A juzgar por los comentarios de Allardyce Nicoll, Stanislavski era un consejero muy importante para realismo y además de eso tenía un gran influencia sobre instruir los actores, ‘The work of Stanislavski in the Moscow Art theatre led directly toward the development of extra- realist tendencies’. Stanislavski tenía el punto de vista de que; ‘All action in the theatre must have an inner justification, be logical, coherent and real’[6].

 

No hay duda de que el movimiento del realismo remodeló y revolucionó el teatro hoy y es cierto que; ‘Despite the radical attempts of modernism to displace the realist emphasis on external reality (notably in the movements of expressionism and surrealism)realism survived as a major current within the twentieth century...and it remains a standard convention of film, television and drama’[7].

 

 

Bibliography:

 

Baldick, C. (1991) The Concise Oxford Dictionary of Literary Terms Oxford: Oxford University Press

 

Evans, I (1990) Short History of English Literature London: Penguin

 

Nicoll, A. (1958) British Drama: An historical survey from the beginnings to the present time London: George Harrap

 

Stanislavski, C. (1988) An Actor Prepares London: Methuen Drama

 

Website 1:

Britannica - www.britannica.com/ibsen

 

Website 2:

Encarta - http://encarta.msn.com/encyclopedia_761553217/Theater.html#s33

 

Website 2:

Cornell University Library - http://cdl.library.cornell.edu

 

 

                                             

 

 

 

 

 

 

 

 

 


[2]Baldick, C. (1991) The Concise Oxford Dictionary of Literary Terms Oxford: Oxford University Press

 p146-147

[3] http://encarta.msn.com/encyclopedia_761553217/Theater.html#s33

 

[4] www.britannica.com/ibsen

                                             

[5] Nicoll, A. (1958) British Drama: An historical survey from the beginnings to the present time London: George Harrap p442

[6] Stanislavski, C. (1988) An Actor Prepares London: Methuen Drama

 

[7] Baldick, C. (1991) The Concise Oxford Dictionary of Literary Terms Oxford: Oxford University Press p185