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Naturalism (theatre)

Naturalism is a movement in European drama and theatre that developed in the late 19th and early 20th centuries. It refers to theatre that attempts to create an illusion of reality through a range of dramatic and theatrical strategies. Interest in naturalism especially flourished with the French playwrights of the time, but the most successful example is Strindberg's play Miss Julie, which was written with the intention to abide by both his own particular version of naturalism, and also the version described by the French novelist and literary theoretician, Emile Zola.

Influences
Naturalistic writers were influenced by the theory of evolution of Charles Darwin. They believed that one's heredity and social environment determine one's character. Whereas realism seeks only to describe subjects as they really are, naturalism also attempts to determine "scientifically" the underlying forces (i.e. the environment or heredity) influencing the actions of its subjects. Naturalistic works are opposed to romanticism, in which subjects may receive highly symbolic, idealistic, or even supernatural treatment. 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 exposed the dark harshness of life, including poverty, racism, sex, prejudice, disease, prostitution, and filth. As a result, Naturalistic writers were frequently criticized for being too blunt. ==Plays of naturalism==
Plays of naturalism
Woyzeck (1837) by Georg Büchner – considered a forerunner to Naturalism • A Bitter Fate (1859) by Aleksey PisemskyThe Power of Darkness (1886) by Leo TolstoyThe Father (1887) by August StrindbergMiss Julie (1888) by August StrindbergCreditors (1889) by August StrindbergThe Weavers (1892) by Gerhart HauptmannDrayman Henschel (1898) by Gerhart HauptmannUncle Vanya (1898) by Anton ChekhovThe Cherry Orchard (1904) by Anton Chekhov • ''A Doll's House'' (1879) by Henrik Ibsen ==See also ==
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