How does Vitrac’s The Mysteries of Love present the surrealistic “real dream”?

Your question is about how Roger Vitrac's play "The Mysteries of Love" presents the surrealistic idea of the real dream.

The idea of combining the experience of a dream with the experience of reality -- and reconciling the two -- is one way that Andre Breton, a famous surrealist philosopher, explains one can reach an understanding of the surreal. According to Breton, "if one reconciles dreams and reality, one will attain an absolute reality: surreality" (Manifesto of Surrealism Summary, 2017).

In Vitrac's "The Mysteries of Love", the traditional expectations of the theater are subverted, leading to a surreal experience for the audience. For example, actions don't necessarily lead to the expected results. Christopher Innes explains in "Avant Garde Theatre: 1892-1992":

The Mysteries of Love (1927) with its violent and unmotivated action, its illogicality and the suspension of cause and effect (as when a murdered man reappears laughing), as well as its direct assault on the audience (ending with a spectator 'killed' by a shot from the stage), is described as a 'real dream'. (67)

To understand how this play helped present the idea of a real dream, consider Antonin Artaud's perspective. The French writer, actor, and director worked on several surrealist plays, including "The Mysteries of Love," and said of the play that "it realized on the stage the anxiety, the mutual isolation, the criminal ulterior motives and the eroticism of lovers" (Innes, 67). He also appreciated the contrast between the beauty of the star and the fact that she had to fart every time she appeared.

"The Mysteries of Love" gave the audience the experience of a real dream, according to Artaud, who says that "for the first time a real dream has been produced in the theater" (Innes, 69).

Source: Innes, Christopher. Avant Garde Theatre: 1982-1992. New York: Psychology Press, 1993.