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Expressionism (theatre)
Expressionism is a modernist movement in drama and theatre that developed in Europe (principally Germany) in the early decades of the 20th century and later in the United States. It forms part of the broader movement of Expressionism in the arts.
==History==
There was a concentrated Expressionist movement in early 20th century German theatre of which Georg Kaiser and Ernst Toller were the most famous playwrights. Other notable Expressionist dramatists included Reinhard Sorge, Walter Hasenclever, Hans Henny Jahnn, and Arnolt Bronnen. They looked back to Swedish playwright August Strindberg and German actor and dramatist Frank Wedekind as precursors of their dramaturgical experiments.
Oskar Kokoschka's ''Murderer, the Hope of Women'' was the first fully Expressionist work for the theatre, which opened on 4 July 1909 in Vienna.〔Berghaus (2005, 55-57).〕 In it, an unnamed man and woman struggle for dominance. The Man brands the woman; she stabs and imprisons him. He frees himself and she falls dead at his touch. As the play ends, he slaughters all around him (in the words of the text) "like mosquitoes." The extreme simplification of characters to mythic types, choral effects, declamatory dialogue and heightened intensity would become characteristic of later Expressionist plays. The first full-length Expressionist play was ''The Son'' by Walter Hasenclever, which was published in 1914 and first performed in 1916.〔Rorrison (1998, 475) and Schürer (1997b, ix, xiv).〕
In the 1920s, Expressionism enjoyed a brief period of popularity in the theatre of the United States, including plays by Eugene O'Neill (''The Hairy Ape'', ''The Emperor Jones'' and ''The Great God Brown''), Sophie Treadwell (''Machinal''), Lajos Egri (''Rapid Transit'') and Elmer Rice (''The Adding Machine'').
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