According to Charles Charras, Antoine's mise en scene came very close to reality, but meanwhile, "for the first time perhaps he abandoned the prosaic truth for searches for effects in the order of the imagination." It was to this extent alone, Charras continued, that Dullin, who saw Antoine work meticulously on his mise en scene, would retain something from Antoine because, by nature, he was far away from verism
and felt the need for transposition.
I'd like to make a few additional points about the play, connected more with its verism
than with its attempt at tragedy.
Sinister, beautiful and sometimes just creepy, these portraits represent the Verism
artistic movement, which occurred in Germany in the 1920s.
As Sabine Rewald tells us in her lucid and informative introduction to Glitter and Doom, the New Objectivity movement "encompasses two wings: the right, conservative and tending toward classicism, and the left, Verism
In contrast to this popular apologetic literary type a small number of writers, in particular those of the Gruppe 47, such as Heinrich Boll and Hans-Werner Richter, propagated a new verism
in German post war literature.
He knew Italian and French well and in his later literary development showed influences of Italian verism
and French naturalism.
We mustn't forget painters of this sort, but retrieve several works by Peter [van Laer] to study verism
and tincture; although others have argued that his works are rendered vile by their comic nature.
23-42), which offers an impressively rich and clear account of the key modalities of Cocteau's film-making (such as realism, verism
, poetry, and autobiography), and Rebecca Conolly's powerful feminist study of Orphee (pp.
form of what Vizenor has called "mythic verism
," Green Grass
Although the so-called Antoninus Pius fits comfortably with the rest of Antico's oeuvre, the other three display an interest in characterization, a kind of verism
that is not otherwise evident in Antico's work, not even in his medallic portraits.
One finds complimentary, but passing references to Becher in an essay of 1954--1955 (Werke 10, 695 and 769); an approving citation of Cesare Pavese's comment that the work of Doblin and Dos Passos oscillates 'between "superficial Verism
" (Naturalista) and "abstract Expressionist construction"' (78) and the dismissal of Max Ernst's paintings as 'sheer, "high-handed" arbitrariness' (Werke 12, 768).