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(man) In class, you were talking about Expressionist Theater back in 1919, 1920.

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But wasn’t that a time when Realist plays were being performed?

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(woman) Indeed! Most plays of the early 1900s presented life realistically, like what you might call a slice of life.

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(man) But then in Expressionist plays there were all these distortions of reality, like, walls at strange angles, characters who start singing even though it’s not a musical, unusual props like tons of papers spewing out of an adding machine.

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(woman) Yes, distortion was a hallmark of Expressionism.

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This art movement was based on emotions, on projecting the artist’s inner feelings rather than recreating aspects of real life.

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(man) But what I wanted to know is how did audiences react to Expressionist Theater?

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Wouldn’t they found it to be really weird?

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(woman) They didn’t know how to take it.

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Just as with expressionists’ paintings, the initial reaction was, “That’s not what a person really looks like.

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The man’s out of proportion and he’s got two eyes on the right side of his face. What’s going on?” But this was a goal of expressionism: for artists to express their personal vision, their inner realities, so to speak.

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(man) Were the Expressionist plays popular?

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(woman) Not really. Although that one play, The Adding Machine, that you were just alluding to with all the paper.(man) Yeah?

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(woman) That one did attract a large audience when it first came out, perhaps because it was more accessible than your typical expressionist play, which might have seemed even stranger.

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(man) Did expressionism last long?

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(woman) Expressionism was like many art movements in the early 1900s, which had a tendency to develop, then grow, evolve into something else.

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So, many expressionist playwrights ended up forming or shifting into surrealism, the next art movement.

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And as they learned more about emerging theories of psychology, they became interested in the subconscious, those subconscious drives behind emotional states.

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But the influences of expressionism are still with us.

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Several years back there was this popular series on television, a dramatic series that used this technique all the time.

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For example, the main character, if she was happy, then a computer-generated image of a dancing baby might appear.

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But only she and the viewers, of course, could see the baby.

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(man) But none of the plays written recently, um, I’m an acting major, so I’ve seen a lot of new plays; acted in some, too.

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And I wouldn’t describe any of them as purely expressionist.

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(woman) That’s cause today’s playwrights have a large tool box.

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They can pull out techniques that are most suitable for their play, or a moment within their play.

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But in the early 1900s, you were an expressionist and you wrote your expressionist play and maybe you moved on to becoming a surrealist then you wrote a surrealist play.

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You didn’t really combine features of expressionism with bits of surrealism and bits of realism and other things.

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