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New Realism
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Ron Owens
Sep 16, 1995, 3:00:00 AM9/16/95
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Is the 'new realism' practiced by such playwrights as David Mamet, Emily
Mann, and Richard Nelson strictly an American phenomenon? The
distinguishing characteristics of this new realism, as I understand it, is
non-linear fragmenting of action, putting characters in incongruent
places, a rejection of moralising (present in realism), and progression
based on an association of ideas rather than simple cause and effect (also
different from realism). Another characteristic has to do with
communication and the tendency to pit a figure who overarticulates against
one unable to express his or her trauma. I ask this question because --
if this is an American original -- isn't it the first time American
playwrights have introduced a 'major' new style to the world stage?
Mann, and Richard Nelson strictly an American phenomenon? The
distinguishing characteristics of this new realism, as I understand it, is
non-linear fragmenting of action, putting characters in incongruent
places, a rejection of moralising (present in realism), and progression
based on an association of ideas rather than simple cause and effect (also
different from realism). Another characteristic has to do with
communication and the tendency to pit a figure who overarticulates against
one unable to express his or her trauma. I ask this question because --
if this is an American original -- isn't it the first time American
playwrights have introduced a 'major' new style to the world stage?
(I get my term 'new realism' from an article by David Savran included in
the book Contemporary American Theatre edited by Bruce King.)
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