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How did Kjeld Abell’s plays break away from naturalist drama?

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Danish literature Jelling stone, raised by King Gorm the Old in the 10th century as a memorial to his wife, Queen Thyre.

Kjeld Abell’s work marked a significant departure from the conventions of naturalist drama by moving away from the strict realism and social documentation that characterized the movement initiated by figures like Georg Brandes.12

Instead of adhering to the literal representation of life, Abell utilized a radical perspective and incorporated witty dialogue to explore his themes. As both a dramatist and a skilled stage designer, he broke from traditional theatrical constraints by making full use of the technical apparatus of the theatre to create new and striking scenic effects. This approach allowed him to move beyond the limitations of the naturalist stage, transforming the theatre into a more flexible and imaginative space for social criticism. His most notable plays, such as Melodien, der blev vaek (1935) and Anna Sophie Hedvig (1939), exemplify this unconventional style, which prioritized creative expression and technical innovation over the rigid adherence to objective reality.13