The early 19th century stage saw an outburst of declamatory acting. The declamatory style offered grandiose gestures, movement, physical comedy and melodrama. Often the main character would proclaim their soliloquies to the audiences in a manner that to 20th century audiences would seem fake and overdone. However, for much of the 19th century, this declamatory style was the sign of a star.
An expanding middle class and growing interest in psychology influenced a change in desired acting styles in the late 19th century. Realism developed, creating a performance and playwriting style that sought to accurately reflect contemporary life. Plays dramatized everyday life experiences, no longer focused on kings and queens but on middle class citizens. Actors took a psychological approach, developing back-stories and motivations to drive their characters through each scene. Realism became the standard acting style through the 20th century, the style by which other forms of acting are still judged.
Constantine Stanislavski, a Russian actor and director, created a theoretical understanding of realistic acting through his books. He also trained other performers who in turn expanded on his work and created their own acting methods. One such student-turned-teacher was Sanford Meisner. Meisner developed an acting technique that rests heavily on complete concentration on and reaction to a scene partner. He focused on honest, immediate response to what was happening in the moment. This technique, used heavily by millions of actors, may also influence our appreciation of certain acting styles, observing the relationship between actors in judging acting ability.
Critics must gauge overacting by intention and appropriateness. Are the actors more focused on telling the play's story or on ensuring that the audience focuses on them throughout the show? Are they connected with their scene partners, or competing with them for the spotlight? Does the actor's style of acting work with the overall style of the play? One audience member may appreciate an actor's performance while their play-going companion feels the performance forced and unbelievable. Spectatorship, and the entire play-going experience, are very personal and subjective experiences.