In Expressionist theatre, 'The Mask' was employed as a potent symbol representing the themes of inescapability and fate. Masks abstracted and generalized human identity, reducing characters to archetypal representations like 'The Father' or 'The Workman', thus emphasizing the impersonal and inevitable forces governing human existence and societal roles. By stripping away individuality, masks underscored the futility of human struggle against these existential constructs. The mask became a visual metaphor for the unchangeable aspects of life, reinforcing Expressionist themes of determinism and the collective human condition .

Expressionist theatre served as a critique of society by challenging the dominant power structures, rigid social roles, and the dehumanizing effects of modernity and industrialization. This ideological stance was reflected in its aesthetic choices, such as non-realistic settings, symbolic characters, and disjointed plots, which together embodied the chaos and alienation of contemporary life. By using exaggerated, dreamlike elements and symbolic representation, Expressionist theatre highlighted societal issues indirectly, prompting audiences to reflect on the underlying truths and emotional implications of these criticisms. The aesthetic choices supported its thematic objectives, creating a cohesive vehicle for societal critique .

Nietzschean philosophy significantly influenced Expressionist theatre by emphasizing individualism and celebrating the creative personality. This focus is reflected in the thematic rebellion of youth against authority, which is a central tenet of Expressionism. The theatrical techniques, such as the use of masks and stereotypical characters, emphasized these themes by stripping individual identity and highlighting social archetypes. The vivid, dreamlike atmosphere and episodic structure of the plays underscored the internal and emotional landscapes, aligning with Nietzsche's ideals of transcending traditional authority and norms .

The dialogue in Expressionist plays diverged from conventional conversation by being feverish, poetic, and rhapsodic. It often consisted of long lyrical monologues or staccato 'telegraphese', comprising brief phrases or expletives. Unlike Pirandello’s 'spoken action', Expressionist dialogue did not direct actors' movements but instead aimed at directly evoking sympathetic feelings. This style was designed to intensify the emotional or psychological impact on the audience, immersing them in the heightened emotional states portrayed on stage .

Expressionist theatre significantly departed from traditional realistic drama through several key techniques. Its settings avoided detailed naturalism, opting for stark and simplified images that matched the play's theme, often using bizarre shapes and sensational colors. The plot structure was disjointed and episodic, emphasizing sequences of dramatic statements rather than a cohesive conflict. Characters lost individuality, becoming stereotypes or social archetypes such as 'The Man' or 'The Father'. This loss of identity was further augmented through the use of masks, seen as a primary symbol of the inescapable Fate .

Expressionist acting deliberately rejected the detailed realism advocated by Stanislavski, favoring instead broad, mechanical movements that could appear overacted, resembling puppetry. This style of acting was meant to evoke a sense of burlesque or parody, distancing the audience from being emotionally engrossed in the realism of the characters. The intention was to engage the audience in the emotions and thematic essence rather than the specific details of human behavior. This approach contrasted sharply with Stanislavski's focus on actors truthfully expressing realistic human emotions through detailed character development and naturalistic performances .

Expressionism in German theatre was initially a form of protest against pre-World War I societal structures, specifically targeting the authoritative family and community, the rigid social order, and the increasing industrialization and mechanization of life. It was characterized by the rebellion of youth against the authority of age and celebrated individualism, following Nietzsche’s glorification of the creative personality. The advent of Freudian and Jungian psychology also challenged playwrights to explore and represent hidden mental states. However, the mass devastation of World War I began to overshadow these personal themes, shifting Expressionism towards a more sophisticated political and Marxist concern for society .

Expressionist plays employed shadowy, unrealistic lighting and creatively distorted set designs to foster a dreamlike or nightmarish atmosphere. The use of visual distortions and sensational colors in the décor, combined with strategic pauses in dialogue, contributed to a surreal and disjointed narrative environment. This approach moved away from the detailed naturalism of traditional stagecraft, reinforcing the episodic and symbolic nature of Expressionist plays. The resulting environment heightened the emotional impact and thematic depth, immersing audiences in the subjective experiences and psychological landscapes portrayed on stage .

The transformation from Expressionist theatre to Brecht’s epic theatre involved a significant shift in focus and methodology. While Expressionism appealed primarily to the audience's emotions through dreamlike atmospheres and symbolic characters, Brecht’s epic theatre aimed to engage the audience's intellect and promote critical social and political reflection. Brecht's techniques, such as keeping theatrical elements visible (e.g., lighting) and using episodic narrative structures, were designed to remind audiences they were watching a play, thus preventing emotional immersion in favor of stimulating active contemplation on the issues presented. This conscious divergence from the emotively driven Expressionism marked a significant evolution in theatrical philosophy .

Freudian and Jungian psychology profoundly influenced Expressionist drama by compelling playwrights to explore subconscious themes and the hidden states of the mind. This psychological dimension was integrated into Expressionist plays through dreamlike atmospheres and symbolic representations that reflected deeper psychological truths and inner conflicts. The introspective exploration of the subconscious aligned with Expressionism's shift from external social critiques to internal emotional and mental landscapes, highlighting the complex interplay between individual psychology and broader societal issues .