After the introduction of the vaudeville to modern Greek theatre (equivalent to the development of folkloric realism), the late nineteenth and early twentieth century

was marked by Naturalism, the influence of Ibsen and and the cultivation of demotic Greek as the language of dramatic speech.

The works of Yannis Kambisis (To Dahtilidi tis manas (The Mother's Ring), 1898, are examples of this new type of drama. Konstantinos Christomanos also played an important part in the dramatic life of the period, with Tria Filia (Three kisses), 1908, O Kontorevithoulis (Tom-Thumb) and so on. His contribution to theatrical life was wide-ranging, and covered direction, stage design, performance (with his Nea Skini or New Stage).

Grigorios Xenopoulos engaged in theatrical activity as well, his best work being To Mystiko tis Kontessas Valerainas (The Secret of Countess Valeraina), 1904, although he later produced other, less original works that catered for the tastes of a wider public. He was the chief exponent of modern Greek theatre, which began to take shape from 1909 following the growth of the bourgeoisie.

Pantelis Horn, a prolific dramatist, wrote exclusively for the theatre. His best play was To Fintanaki (The Seedling), 1921.
Spyros Melas (Yos tou Iskiou (The Son of Shadow), kokkino poukamiso, (The Red Shirt) halasmeno spiti (The Broken House) wrote plays but also experimented with other forms of literature.

Patriotic dramas directly inspired by national issues were very popular in the period 1897-1922.

In terms of form they can be categorized into dramatic idyls and symbolic and historical pageants.
In the 1900s the main theme was irredentism (the Macedonian and Cretan questions). The intensely populist language of the plays touched the irredentist aspirations of the public at a time when, officially, the state held an 'irreproachable attitude' towards its relations with Turkey.
In the 1910s the public began to show more interest in news of the wars and theatres practically became places in which to celebrate the Balkan victories. Thus war revues and popular comedies involving scenes from military life and operettas prospered and were clearly capitalizing on war motifs.
During the National Schism all shows that incited political passions were censored: national issues could no longer be commented on or representations of political figures be presented on stage.
With the Catastrophe, which gave rise to new discussions on the issue of the Great Idea, nationhood and national integration, the end of patriotic drama was ushered in.
There has been much criticism of these patriotic dramas. Critics chastised their populism and brash slogans and the public's addiction to trivial and disorienting issues.
Such patriotic dramas were written by Al. Galanos, G. Aspreas, P. Dimitrakopoulos, Sp. Peresiadis, Ger. Vokos, . Lidorikis, S. Potamianos, Il. Voutieridis and many others. They were ususally staged in popular theatres but also in bourgeois venues, and the playwrights sometimes collaborated with the most distinguished writers of the time.