According to Braver, anti-realism is characterized by the rejection of an objective reality. While realism focuses on aspects of what is factual and true, anti-realism highlights speculation and abstraction (2007:45). Therefore, it can be inferred that the anti-realism movement emerged as a response to realism. It began as a collaborative effort among artists from various disciplines, seeking to go beyond the superficial elements of realism to investigate deeper realities that aren't directly observable. The movement utilized metaphors and imagery to revive traditional aesthetic values associated with fantasy, poetry, and depth. By the early 20th century, this shift in thinking had influenced playwrights, leading to the formation of the Anti-Realist Theatre movement. These theatrical works integrated music, mythology, elaborate special effects, and symbolism into their narratives. Symbolism was employed to create new sets of symbols for the audience to interpret their understanding of the world. In essence, the goal of this theatre movement was to transform perceptions of theatrical art that blossomed in the early decades of the 20th century.
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Anti-realism, as defined by Braver, is the denial of an objective reality. Whereas realism would put an interest in aspects of what is real and true, Anti-realism puts an emphasis on what is speculated on and what is abstract (2007:45). It can thus be deducted that the Anti-realism movement was created due to the Realism movement. Beginning as a joint venture by artists from many fields, their aim was to move beyond the surface of realism, in order to explore inner realities that cannot be directly perceived. Metaphors and images assisted the movement in restoring traditional aesthetic values of fantasy, poetry and profundity. By the early 20th century, the movement had already invaded the imaginations of playwrights, resulting in the birth of the Anti-Realist Theatre movement. These plays combined music, mythology, heavy special effects in storytelling and symbolism. The use of symbolism was used to contrive new sets of symbols that the audience could use to perceive the world. In summary, it was the aim of this theatre movement to change the perception of theatrical art proliferated during the first third of the twentieth century.
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