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Twentieth-century theatre describes a period of great change within the theatrical culture of the 20th century. There was a widespread challenge to long established rules surrounding theatrical representation; resulting in the development of many new forms of theatre, including modernism, Expressionism, Impressionism. political theatre and other forms of Experimental theatre, as well as the continuing development of already established theatrical forms like naturalism and realism. Throughout the century, the artistic reputation of theatre improved after being derided throughout the 19th century. However, the growth of other media, especially film, has resulted in a diminished role within culture at large. In light of this change, theatrical artists have been forced to seek new ways to engage with society. The various answers offered in response to this have prompted the transformations that make up its modern history.〔Richard Drain, Preface, ''Twentieth-Century Theatre: A Sourcebook," Taylor & Francis, 1995.〕 Developments in areas like Gender theory and postmodern philosophy identified and created subjects for the theatre to explore. These sometimes explicitly meta-theatrical performances were meant to confront the audience's perceptions and assumptions in order to raise questions about their society. These challenging and influential plays characterized much of the final two decades of the 20th-century. Although largely developing in Europe and North America through the beginning of the century, the next 50 years saw an embrace of non-Western theatrical forms. Influenced by the dismantling of empires and the continuing development of post-colonial theory, many new artists utilized elements of their own cultures and societies to create a diversified theatre. ==Realistic theatre== Influenced by the ideas of Sigmund Freud and others, many artists began to find a psychological approach to theatre that emphasized the inner dimensions of the characters onstage. This was carried out both on the stage in acting styles and outside of the stage in play writing. While it certainly does not begin with him, Constantin Stanislavski is certainly the most influential proponent of this approach to theatre. He believed that actors should cultivate an "inner life" for their characters, from which all movement and gesture would flow. Stanislavski's work at the Moscow Art Theatre was indispensable to the development of Western drama in the 20th-century.〔Drain 230〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Twentieth-century theatre」の詳細全文を読む スポンサード リンク
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