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Shakespearean verse, for example, demands a rigorous attention to its rhythmic sub-structure and often long and complex phrasings naturalistic actors tend to cut these down to the far shorter speech patterns of modern drama, destroying the rhythmic support that assists the audience’s process of comprehension. Naturalistic performance is often unsuitable for the performance of other types of theatre-particularly older forms, but also many twentieth-century non-Naturalistic plays. His approach is a development, however, of the critical project initiated by Naturalism it is a form of modernist realism. Naturalism was criticized in the twentieth century by a whole host of theatre practitioners Constantin Stanislavski, for example, argued for a puncturing of the illusion of the surface of reality in order to reach the real forces that determine it beneath its appearance in place of the absorption within a fiction that Naturalistic performance promotes in its audience, he attempted to inculcate a more detached consideration of the realities and the issues behind them that the play confronts. As a result, Naturalistic writers were frequently criticized for being too blunt. Naturalistic works exposed the dark harshness of life, including poverty, racism, sex, prejudice, disease, prostitution, and filth. They often include uncouth or sordid subject matter for example, Émile Zola’s works had a frankness about sexuality along with a pervasive pessimism. Naturalistic works are opposed to romanticism, in which subjects may receive highly symbolic, idealistic, or even supernatural treatment.
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the environment or heredity) influencing the actions of its subjects. Whereas realism seeks only to describe subjects as they really are, naturalism also attempts to determine “scientifically” the underlying forces (i.e. They believed that one’s heredity and social environment determine one’s character. Naturalistic writers were influenced by the theory of evolution of Charles Darwin. It refers to theatre that attempts to create a perfect illusion of reality through a range of dramatic and theatrical strategies: detailed, three-dimensional settings everyday speech forms (prose over poetry) a secular world-view (no ghosts, spirits or gods intervening in the human action) an exclusive focus on subjects that are contemporary and indigenous (no exotic, otherworldly or fantastic locales, nor historical or mythic time-periods) an extension of the social range of characters portrayed (away from the aristocrats of classical drama, towards bourgeois and eventually working-class protagonists) and a style of acting that attempts to recreate the impression of reality (often by seeking complete identification with the role, understood in terms of its ‘given circumstances’, which, again, transcribe Darwinian motifs into performance, as advocated by Stanislavski). Naturalism is a movement in European drama and theatre that developed in the late 19th and early 20th centuries.