By David Krasner
This better half offers an unique and authoritative survey of twentieth-century American drama experiences, written by means of the very best students and critics within the box.
- Balances attention of canonical fabric with dialogue of works by means of formerly marginalized playwrights
- Includes reports of prime dramatists, akin to Tennessee Williams, Arthur Miller, Eugene O'Neill and Gertrude Stein
- Allows readers to make new hyperlinks among specific performs and playwrights
- Examines the activities that framed the century, equivalent to the Harlem Renaissance, lesbian and homosexual drama, and the solo performances of the Eighties and Nineties
- Situates American drama inside better discussions approximately American rules and culture
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Extra info for A companion to twentieth-century American drama
The Fatal Environment: The Myth of the Frontier in the Age of Industrialization, 1800– 1890. Norman: University of Oklahoma Press. Smith, S. H. (1997). American Drama: The Bastard Art. Cambridge: Cambridge University Press. Thomas, A. (1920). As a Man Thinks. In G. P. ), Modern American Plays. New York: Harcourt, Brace, and Howe. Trachtenberg, A. (1982). The Incorporation of America: Culture and Society in the Gilded Age. New York: Hill and Wang. Turner, F. J. (1920). The Frontier in American History.
A related responsibility is to specify each ethnic group, avoiding conflating different ethnicities and reducing the category known as ‘‘American’’ to generic terms. Finally, telling the story involves looking closely at the intersection of race along with ethnicity. Ethnic theatres existed from the late eighteenth century. For the first groups of settlers, such as the French in Louisiana and the Italians in San Francisco, theatre served two purposes: it created a social center and it conjured remembrances of homeland.
However, her grief and suffering – owing to her ‘‘Jewish heart’’ – are so intense they cause her to die. As scholars point out, the ‘‘Jewish heart’’ play is not merely a simple tragedy. Latteiner interpolates comic scenes with a tragic plot. Sentimental characters, such as Yankel, speak daytsmerish, whereas the clown vaudeville characters in the comic sections of the play speak idiomatic, debased Yiddish. But the unifying factor is ‘‘the Jewish heart’’ and what happens to it when Jews search for identity in a hostile environment.