The main current sense of the word is simply "propaganda, especially socially or politically motivated propaganda appearing in literary works, films, etc."; though the word often refers to political propaganda, it is not restricted to communist doctrine.
A theatre performance that includes a meal, either at the same venue or at an adjacent restaurant.
Although it was popular in the 1950s in the USA (as Dinner Theater), there are still many venues worldwide where a live performance is accompanied by a meal, usually in a tourist-focussed themed attraction.
Good examples are the Elizabethan dramatists William Shakespeare.
The original sense of agitprop was "agitation and propaganda on behalf of Communism", or "a government agency or department responsible for agitation and propaganda".
Naturalism was criticized in the twentieth century by a whole host of theatre practitioners; Constantin Stanislavski, for example, argued for a puncturing of the illusion of the surface of reality in order to reach the real forces that determine it beneath its appearance; in place of the absorption within a fiction that Naturalistic performance promotes in its audience, he attempted to inculcate a more detached consideration of the realities and the issues behind them that the play confronts.
His approach is a development, however, of the critical project initiated by Naturalism; it is a form of modernist realism.
Naturalistic works are opposed to romanticism, in which subjects may receive highly symbolic, idealistic, or even supernatural treatment.
They often include uncouth or sordid subject matter; for example, Émile Zola’s works had a frankness about sexuality along with a pervasive pessimism.
Naturalistic performance is often unsuitable for the performance of other types of theatre—particularly older forms, but also many twentieth-century non-Naturalistic plays.
Shakespearean verse, for example, demands a rigorous attention to its rhythmic sub-structure and often long and complex phrasings; naturalistic actors tend to cut these down to the far shorter speech patterns of modern drama, destroying the rhythmic support that assists the audience’s process of comprehension.