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The Theory of Spectacle in drama posits that the visual elements of a performance—such as scenery, costumes, and special effects—are as significant as the narrative and text. This concept has been embraced in various forms throughout history but received particular emphasis in postmodern theatre.

Bertolt Brecht's epic theatre aimed to provoke rational self-reflection and a critical view of the action on the stage, rather than emotional manipulation. This mid-20th-century theory introduced techniques like the Verfremdungseffekt, or 'alienation effect'.

Vsevolod Meyerhold developed Biomechanics, a movement-based approach to acting, which combines physical gesture, efficient movement, and rhythmic timing. Developed in the early 20th century, it was in response to the psychological emphasis of Stanislavski's method.

The concept of the Fourth Wall refers to the imaginary barrier at the front of the stage in a traditional three-walled box set, through which the audience views the play. Its breach, known as 'breaking the fourth wall', draws attention to the performance's constructed nature.

Theatricalism is a theory that embraces the artifice of theatre, emphasizing methods and techniques that remind the audience they are watching a play rather than trying to replicate reality. It contrasts with realism and emerged as its own form in the 20th century.

Derived from Aristotle's ideas, but solidified by Italian Renaissance writers, the Three Unities are: unity of action, unity of time, and unity of place. This theory suggests that a play should focus on a single plot (action), occur within a 24-hour period (time), and be set in one location (place).

Constantin Stanislavski's System is a method for actor training, focusing on character motivation, internalization, and a 'magic if' to encourage naturalistic performance. Developed in the early 20th century, this method revolutionized acting techniques.

Postdramatic Theatre refers to theatrical works that move away from the traditional drama narrative structures and character development. Characterized by the use of multimedia, it emerged at the end of the 20th century, as described by Hans-Thies Lehmann.

Dramatic Irony is a literary device where the audience knows more about a character's situation than the character does, foreseeing an outcome contrary to the character's expectations. Its origins can be traced to Ancient Greek tragedy and comedy.

Aristotle's 'The Poetics' is the earliest-surviving work of dramatic theory, proposing concepts such as mimesis (imitation), catharsis, and the elements of tragedy. Originating in 4th century BC, it laid the foundation for western drama.

The Method, or Method Acting, is a technique that encourages actors to draw upon their own emotions and memories to bring depth and realism to their performances. Stemming from Stanislavski's System, it was developed further by Lee Strasberg in the mid-20th century.