A History of Modern Drama, Volume II: 1960-2000 by David Krasner

By David Krasner

A background of recent Drama: Volume II explores a extraordinary breadth of subject matters and analytical methods to the dramatic works, authors, and transitional occasions and events that formed global drama from 1960 via to the sunrise of the recent millennium.

  • Features distinct analyses of performs and playwrights, reading the impact of a variety of writers, from mainstream icons corresponding to Harold Pinter and Edward Albee, to extra unorthodox works through Peter Weiss and Sarah Kane
  • Provides international insurance of either English and non-English dramas – together with works from Africa and Asia to the center East
  • Considers the impression of paintings, tune, literature, structure, society, politics, tradition, and philosophy at the formation of postmodern dramatic literature
  • Combines wide-ranging subject matters with unique theories, overseas standpoint, and philosophical and cultural context

Completes a complete two-part paintings interpreting smooth international drama, and along A background of contemporary 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, Volume II: 1960-2000

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No there’s nothing delicate about our senses. Know one another? 90 DANTON: Büchner anticipates the most radical development of modern drama’s emphasis on history, covering his large canvas with the confusion and chaos of the French Revolution. In this play the shocking headlines of history become the substance of modern drama; in the play’s epic-Shakespearean style, the expression of horror emerges. Danton’s sickening sense of the revolution’s futility and violence begins the play; it is as if Danton cannot explain his own response to this brutal state of violence, expressing an inchoate condition that accurately reflects the situation itself.

16 A History of Modern Drama realism in art and literature was not meant to elevate humanity but rather expose the underlying objective social condition and emphasize the quotidian over the poetic. In realism surfaces are stripped away, revealing causal networks functioning beneath appearances. Feminist social activist Emma Goldman wrote that in Gerhart Hauptmann’s play about the working class, The Weavers, “There is nothing in literature to equal the cruel reality of the scene in the office” when “the weavers bring the finished cloth.

83 Still, idealism, realism, and the avant garde absorbed most shorter-lived movements into their categories, creating the triumvirate of modern drama. Georg Büchner and Total War Georg Büchner (1813–1837) was an anomaly and chronological oddity. He wrote during the period of late Romanticism, yet he rejected all that Romanticism epitomized; his work was unproduced and unrecognized until the 1870s, yet when he was discovered he served as a figurehead of modern drama; and his plays ironically spearhead both the dawn of realism as well as the nodal point of vanguard modernism’s rejection of realism.

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