Expressionism

In the theatre

EXPRESSIONISM

Expressionism was a modernist movement, initially in poetry and painting,

which originated in Germany at the beginning of the 20th century. Its typical

trait was to distort physical reality for emotional effect in order to evoke

moods or ideas. Expressionism was developed as an avant-garde style before

the First World War. It remained popular during the Weimar Republic,

particularly in Berlin. The Scream by Edvard Munch is perhaps one of the

best-known examples of expressionist art.

WHAT IS EXPRESSIONISM?

MORE EXAMPLES

Initially a rebellion against Realism and Naturalism in the theatre,

Expressionism’s impact was intense. Later influencing practitioners Bertolt

Brecht and Erwin Piscator, Expressionism made way for other, more

militant performance styles in Germany, such as Epic theatre. Expressionist

plays often dramatise the spiritual awakening and sufferings of their

protagonists and are referred to as ‘Stationendramen’ (station dramas). Early

expressionism in particular testified to the failure of social values.

The following slides will display the main conventions of expressionist

theatre:

EXPRESSIONIST THEATRE

• Dreamlike and surreal (early stages of the period)

• Nightmarish, eerie

• Appeal to the audience’s emotions

• Closely linked to play’s theme/message

ATMOSPHERE

• Expressionist scenic design became a major style of production in

the German theatre during the movement’s later years

• Lighting was often stark, illuminating key areas of the stage space

• Deliberate use of shadow

• Stages were bare with few props

• Only those settings essential to the play’s theme were used

STAGECRAFT

• Sets were deliberately distorted, shapes and lines were unusual, sharp and angular

• Scenery did not define a location (abstract)

• Sets were often decorated with bright colours

• Props were normally symbolic

• Use of masks

STAGECRAFT (CONTINUED)

• Content concerned with industrialisation, war, dreams of the subconscious

• Message at the centre of the plot (often involving a search for the truth)

• The message was often told from the viewpoint of the dreamer or hero (protagonist)

• Taboo topics such as incest and patricide became the subject of several expressionist plays

PLOT

• Episodic (unified by a central idea or argument)

• Self-contained, loosely connected scenes

• Disjointed

• Short, static scenes, not causally linked (as with realistic and naturalistic plays)

STRUCTURE

• Use of still images

• Antithesis of the well-made play

• Shift away from realism

STRUCTURE (CONTINUED)

• Stereotypes

• Caricatures (often grotesque)

• Mostly lacked individuality e.g. The Woman, Nameless One, The Worker

• Represented a social group

CHARACTERS

• Characters as symbols

• Impersonal

• Inner psychological reality of characters was revealed (often by

external means, such as through scenic design)

CHARACTERS (CONTINUED)

• Truncated (short)

• Clipped

• Fragmented

• Telegraphic speech patterns juxtaposed with long monologues

DIALOGUE

• Rapid, breathless speech

• Poetic and lyrical

• Mix of prose and verse

• Speech consisting of a small number of words and/or phrases

DIALOGUE (CONTINUED)

• Dialogue disconnected with the actor’s movement and structure

• Unusually long pauses and silence in dialogue

• Distinct lack of interpersonal communication between characters

DIALOGUE (CONTINUED)

• Stylised

• Rhythmical

• Mechanical

MOVEMENT

• Robotic

• Urgent

• Energetic

MOVEMENT (CONTINUED)

• Appearance of over-acting

• ‘Ecstatic’ style of acting

• Intense

ACTING STYLE

• Violent

• Expressing tormented emotions

• Mixture of presentational and representational

ACTING STYLE (CONTINUED)

The Cabinet of Dr. Caliagri (1920) directed by Robert Weine

EXAMPLES OF EXPRESSIONIST

PLAYS

Metropolis (1927) directed by Fritz Lang


PLAYS

Nosferatu (1922) directed by F. W. Murnau


PLAYS

The Golem (1920) directed by Carl Boese


PLAYS

Education

Expressionism