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Naturalism marks the opening of the Modern period in theatre, with its basis in new science (Darwin) and psychology (Freud). It is still the dominant form for mainstream theatre – and so deserves attention.
Its major theorist was Zola, whose plays – including Thérèse Raquin – were produced by one of the earliest naturalistic directors, André Antoine. Ibsen counts as the first playwright to explore a naturalistic vision, with A Doll’s House challenging both moral and theatrical conventions all across Europe; while The Wild Duck was produced by another of the earliest naturalistic theatre companies, the Meinigen Players. A close study of these plays, taking account of their stagings, will illuminate naturalistic principles.
The movement was developed by Strindberg (Ibsens’s contemporary competitor) and by Shaw (who wrote an influential pamphlet on “The Quintessence of Ibsenism”). We will conclude this short course by considering key works by these two playwrights, who also directed their own works.
Concurrent with this course, The Royal Theatre is performing both Madame Bovary (an adaptation of an iconic naturalistic novel) and in the final rehearsals for The Wild Duck. Students will be encouraged to see these productions – including, if possible, a dress rehearsal for The Wild Duck.
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A Sourcebook on Naturalist Theatre, ed Christopher Innes, Routledge 2000
• Zola, Emile, Thérèse Raquin
• Henrik Ibsen, A Doll’s House (engelsk oversættelse online her: http://www.gutenberg.org/ebooks/2542)
• The Wild Duck (engelsk oversættelse online her: http://etext.lib.virginia.edu/toc/modeng/public/IbsWild.html
• August Strindberg, The Father (engelsk oversættelse online her: http://en.wikisource.org/wiki/The_Father_(Strindberg)
• Bernard Shaw, Mrs Warren’s Profession (online her: http://www.gutenberg.org/files/1097/1097-h/1097-h.htm
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