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By David Krasner

A historical past of recent Drama: Volume II explores a striking breadth of subject matters and analytical ways to the dramatic works, authors, and transitional occasions and activities that formed international drama from 1960 via to the sunrise of the recent millennium.

  • Features exact analyses of performs and playwrights, interpreting the impression of quite a lot of writers, from mainstream icons resembling Harold Pinter and Edward Albee, to extra unorthodox works by way of Peter Weiss and Sarah Kane
  • Provides worldwide assurance of either English and non-English dramas – together with works from Africa and Asia to the center East
  • Considers the impression of artwork, track, literature, structure, society, politics, tradition, and philosophy at the formation of postmodern dramatic literature
  • Combines wide-ranging issues with unique theories, foreign point of view, and philosophical and cultural context

Completes a accomplished two-part paintings interpreting glossy global drama, and along A historical past of recent Drama: Volume I, bargains readers whole assurance of a whole century within the evolution of worldwide dramatic literature.

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Extra resources for A history of modern drama / Vol. 1

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Interior and exterior scenes follow one another depending on the way a director wishes to arrange them. But no matter the arrangement, the spirit of the play coheres. Equally impressive is the way Büchner incorporates the impact of war on ordinary people. Woyzeck is a conscript, a “lifer” in the army serving for nothing more than a paycheck, bed, and consistent meal. He agrees to serve as a guinea pig in scientific experimentation for additional pay, his body and mind no more than a cell under a microscope.

Human endeavors and desires merely sustain us with the vainglorious hope that their fulfillment will be volition’s final goal, with the irony being that once the goal is achieved, another takes its place. Avant-gardism stands for an image of the future that breaks decisively with human continuity. It is contemptuous of progress and the durability of civilization, situating instead the inchoate, serendipitous, and non-linear at the center of creation. ”82 Many modern movements occurring in this period were really short-lived breakthroughs appearing abruptly and disappearing hastily; their influences were absorbed quickly into the large maw of modernism’s endless cycle of newness.

70 The avant-garde modernists were concerned with a probative recovery of the “truer” self than realism could ever achieve by uncovering the instinctual and spiritual foundations beneath the surface façade. ”72 What was needed was less focus on representation and totality, and more exposure of theatrical convention. The very features of theatre were foregrounded, stressing the theatrical apparatus; for example, being-ina-theatre (I’m watching a play and I’m aware of this fact), it was argued, is the truer reality than pretending a fourth wall.

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