By David Krasner
Protecting the interval 1879 to 1959, and taking in every thing from Ibsen to Beckett, this ebook is quantity certainly one of a two-part accomplished exam of the performs, dramatists, and routine that contain sleek international drama.Contains designated research of performs and playwrights, connecting topics and delivering unique interpretationsIncludes assurance of non-English works and traditions to create a world view of contemporary dramaConsiders the impression of modernism in artwork, tune, literature, structure, society, and politics at the formation of contemporary dramatic literatureTakes an interpretative and analytical method of sleek dramatic texts instead of targeting construction historyIncludes insurance of the ways that staging practices, layout options, and performing kinds educated the development of the dramas
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Additional resources for A History of Modern Drama, Volume 1
The characters that hound Woyzeck are sometimes depicted as macabre, comic caricatures (with the exception of Marie); this creates a kind of absurd, almost comic depiction, what would later be called theatre of the “grotesque” (a term used in the play). ” Influenced by Shakespeare’s Othello, Woyzeck cries out for proof of Marie’s infidelity. But it is more than the appearance of a handkerchief, Iago’s prop as proof for Othello, or earrings Woyzeck discovers on Marie; likewise Othello, Woyzeck wants to “see” the sin itself, to turn the intangible into the material, to take hold of something abstract and turn it into concrete reality.
Down below, in the ordinary theatre, ordinary and traditional drama is doubtless yielding slowly to the influence of the vanguard; but it were idle to wait for the laggards when we have the pioneers at our call. – Maurice Maeterlinck103 Henrik Ibsen, August Strindberg, and Anton Chekhov were hailed not only for their groundbreaking techniques and glittering display of theatricality, but also for their complexity – the density, compelling allusiveness, and passion exhibited in their plays. Ibsen’s quest for freedom in the mind as well as in society often drove his characters to extreme risks and dangerous rebellion.
The opening provides insights into Kantian knowledge and appearances: how do we know the thing-in-itself, Danton seems to be asking. Who are we and who are the people around us? His dialogue brings modern alienation front and center: JULIE: Danton, do you believe in me? How should I know! We know little enough about one another. We’re thick-skinned creatures who reach out our hands toward one another, but it means nothing – leather rubbing against leather – we’re very lonely. JULIE: But you know me, Danton.