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Twentieth-century theatre describes a period of great change within the theatrical culture of the 20th century, mainly in Europe and North America. There was a widespread challenge to long-established rules surrounding theatrical representation; resulting in the development of many new forms of theatre, including modernism, expressionism, impressionism, political theatre and other forms of ...
Realism was a general movement that began in 19th-century theatre, around the 1870s, and remained present through much of the 20th century. 19th-century realism is closely connected to the development of modern drama, which "is usually said to have begun in the early 1870s" with the "middle-period" work of the Norwegian dramatist Henrik Ibsen ...
Conceptualised by 20th century German director and theatre practitioner Bertolt Brecht (1898–1956), "The Modern Theatre Is the Epic Theatre" is a theoretical framework implemented by Brecht in the 1930s, which challenged and stretched dramaturgical norms in a postmodern style. [1] This framework, written as a set of notes to accompany Brecht ...
Henrik Johan Ibsen (/ ˈ ɪ b s ən /; [1] Norwegian: [ˈhɛ̀nrɪk ˈɪ̀psn̩]; 20 March 1828 – 23 May 1906) was a Norwegian playwright and theatre director.Ibsen is considered the world's pre-eminent dramatist of the 19th century and is often referred to as "the father of modern drama."
Long Day's Journey into Night [1] Waiting for Godot [2] Who's Afraid of Virginia Woolf? [2] The Caretaker [3] A Streetcar Named Desire [4] List of modernist playwrights
Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc., performed in a theatre, or on radio or television. [1] Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BC)—the earliest work of dramatic theory.
Marlowe (1564–1593) was born only a few weeks before Shakespeare and must have known him. Marlowe's subject matter is different from Shakespeare's as it focuses more on the moral drama of the renaissance man than any other thing. Marlowe was fascinated and terrified by the new frontiers opened by modern science.
The Columbia Encyclopedia of Modern Drama notes that "The British theater had abundant room for the comic Coward, but none for the angry, bitter Coward of Post-Mortem", and that Coward had two playwriting personas: one "crowd-pleasing (and) comic", the other "darker (and) serious". The Encyclopedia does not record much appreciation, if any ...