The article, written by Paul Hauser, first published in the book named "theory of the modern stage".

1. THE ORIGINS OF
DOMESTIC
DRAMA
W R I T T E N BY : A R N O L D H A U S E R

2. M O V I N G TO T H E M I D D L E O F T H E
1 8 T H C E N T U R Y
Heroic
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3. DISTINCTIONS
MIDDLE CL ASS DRAMA
 Complete innovation compared to the various forms of light fiction
 Conscious antithesis to classical tragedy
 Mouthpiece of the revolutionary bourgeoisie
 in contrast to older drama: irrational, uncanny, inexplicable
 Elevated drama
 protagonists: members of middle class
 Middle-class = nobilities
 relativizing and belittling of the heroic and aristocratic virtues
 an advertisement for boogies’ morality
 middle-class equality of rights
 theme and source: social conflict
 Openly placed in the service of a class struggle
 the whole history of the drama was determined by its origins in bourgeois class-
consciousness. + Changes in addressing of speeches, such as: “ we, the respectable middle
class can not live in a world dominated by you parasites...” 3

4. MIDDLE CL ASS D R A M A
Because of the polemical and programmatical character, the
new drama was burdened from the very outset with problems
unknown to the older forms of the drama.
The real difference between the bourgeois and pre-bourgeois
drama shift of political and social purposes from being
latent to a direct expression: long speeches and indictments
beginning with “Ye” instead of “you”
The dramatic conflict no longer took place between individuals
The conflicts took place between the hero and institutions
fighting against anonymous forces
formulating pov* as an abstract idea
working as a denunciation of
the prevailing social order
pov: point of view 4

5. DRAWBACKS OF
THE MIDDLE CLASS DRAMA IN 18TH C.In spite of the direct tone of the middle-class drama of 18th c. no more implies the criteria of a
people’s theater than does the proletarian drama of 19th c.
The drama developed into the representative literary genre in which ideals of court society in the
survive of absolute monarchy found the most direct and imposing expression.
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6. PERIPETETIAS U D D E N T U R N O F D E S T I N Y
O N E O F T H E
E S S E N T I A L S O F T R A G E D Y
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7. Peripetetia had always been regarded as one of the essentials of tragedy until the 18th C.
very dramatic critic had felt that the sudden turn of destiny makes the deeper impression,
the higher position from which the hero falls.
In the poetic theory, tragedy is simply defined as the genre whose heroes are princess,
generals, and suchlike nobilities.
In 18th centaury middle class drama, the turning point was a significant dramatic action
and showed them as the victims of tragic fates when middle class citizens were the
protagonists of serious actions.
Example: Moliere
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8. NATURALISTIC
DRAMATIC
THEORY
8
Denis
Diderot

9. 9
The principles of a new drama: the 'serious genre', a realistic midpoint between comedy and tragedy that
stood in opposition to the stilted conventions of the classical French stage. Diderot introduced the concept of
the fourth wall, the imaginary "wall" at the front of the stage in a traditional three-walled box set in a
proscenium theatre, through which the audience sees the action in the world of the play.
Natural
And
Psychologically accurate motivation of spiritual process
.
.
Exactness in description
And
Fidelity to the nature in the scenery
.
.
“Tableaux vivants” means "living picture". The term, borrowed from the French language, describes a group
of suitably costumed actors or artist's models, carefully posed and often theatrically lit. Throughout the
duration of the display, the people shown do not speak or move.
Diderot referred to:

10. CL ASSICAL AND MIDDLE
CL ASS DRAMA
Classical tragedy:
•Man: isolated and independent
•Man in contact with: merely material world
•Man: never influenced by his innermost self
•Controlling concrete reality
The bourgeois drama:
Man: a part and function of the environment
Man: self controlled and self absorbed by it.
Man: as an active being for shaping of human
destiny
Man: free to choose and accountable for his
actions to himself
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11. AREAS OF INFLUENCE IN DRAMA
PSYCHOLOGY
• Characters as social
phenomenon
• Feeling of identifying oneself
with social compeers
• Unique and incomparable men
and women of the society
• Stylization and romanticizing
the reality
• Romantic tragedy
NATURALISM
Psychologically accurate
motivation of spiritual
process
Exactness in description
Fidelity to the nature in the
scenery
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• Developing Character’s out
of material environment
• Social factors and
materialism are interwoven
• Social standing giving
characters a high degree of
reality and relevance than
personal habitus
• Individual’s qualities are
bolded
• Responsibility of action

12. DOMESTIC DRAMA
D I S CO V E R S T H E D U T I E S W H I C H A R E O W N E D
TO S O C I E T Y
A N D
D E S C R I B E S T H E F I G H T F O R F R E E D O M A N D
J U S T I C E
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13. THANK YOU
FOR
YOUR ATTENTION