By David Krasner
Protecting the interval 1879 to 1959, and taking in every little thing from Ibsen to Beckett, this e-book is quantity one among a two-part accomplished exam of the performs, dramatists, and events that include smooth global drama.Contains distinct research of performs and playwrights, connecting issues and delivering unique interpretationsIncludes insurance of non-English works and traditions to create a world view of recent 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 creation historyIncludes assurance of the ways that staging practices, layout strategies, and performing kinds expert the development of the dramas
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Additional resources for A History of Modern Drama, Volume 1
Trauma reflects a shattering nature often unavailable to conscious recollection and understanding. Ibsen, Strindberg, and Chekhov replicate the murky patterns of human consciousness, the inchoate barrage of impressions, impulses, memories, and eruptions of anguish and desire that form the thought patterns of modern culture. They tried to reverse the traditional consensus of nineteenth-century drama; instead of rendering the social landscape by a searchlight of melodrama’s sweeping surfaces, they prowled the labyrinthine cubicles of the inner self, the dehiscence of everyday existence.
But at least they were cared for by feudal structure and organization. By contrast, the new proletariat was conceived of as a social class produced by economic forces of labor and wage relationships. The roots of this transition enabled a sense of economic dislocation, the rise of competitiveness, and the demise of earlier forms of social sympathy and solidarity. indd 30 8/11/2011 3:18:00 PM Introduction 31 feudal unity; the new class of poor was completely cast adrift. By the 1830s the topic of pauperism and the new laboring poor was not only exclusive of Germany, it impacted the debates globally.
I was told once of a sickness that wipes out our memory. Death must be something like that. And then at times I hope that perhaps death is even more powerful and wipes away everything. If only it were true! – I’d run like a Christian then to rescue my enemy – no memory, that is. – This place should be safe; for my memory is not for me; but the grave should give me safety, at least it will make me forget. The grave kills memory (34). To be modern as Danton (and Woyzeck, as we will shortly see) is to be cognizant of the alienation from authority and to understand the powerlessness it creates.