By David Krasner
This significant other offers an unique and authoritative survey of twentieth-century American drama reports, written through the very best students and critics within the box.
- Balances attention of canonical fabric with dialogue of works by way of formerly marginalized playwrights
- Includes reports of major dramatists, equivalent to Tennessee Williams, Arthur Miller, Eugene O'Neill and Gertrude Stein
- Allows readers to make new hyperlinks among specific performs and playwrights
- Examines the pursuits that framed the century, akin to the Harlem Renaissance, lesbian and homosexual drama, and the solo performances of the Eighties and Nineteen Nineties
- Situates American drama inside of greater discussions approximately American principles and culture
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Additional resources for A companion to twentieth-century American drama
Gordin attempted this transformation in several ways; he hewed to the ideal of realism then in currency in the works of Chekhov, Ibsen, and Strindberg; he adapted more Shakespeare than any other Yiddish writer; and he insisted on the importance of the writer who valued actors. Gordin is impressive for fighting a constant battle against shund. Although some of his plays do employ clownish characters and operatic intrusions, Gordin’s first artistic success, Siberia (1891), was a realistic drama that used the American ‘‘rags to riches’’ 26 Rachel Shteir story and catered to the specific brand of immigrant nostalgia for the old country.
Thomas Dixon adapted his novels The Leopard’s Spots (1902) and The Clansman (1906) into a single play, The Clansman, which premiered in 1906. A decade later, D. W. Griffith adapted the stage melodrama based on the two novels into his feature film epic, The Birth of a Nation (1915). Robert Sklar describes The Birth of a Nation as a drama of racist reconciliation: ‘‘For that was what his film was about: the creation of a new nation after years of struggle and division, a nation of Northern and Southern whites united ‘in common defense of their Aryan birthright,’ with vigilante riders of the Klan as their symbol’’ (1975: 58).
In the play, however, law, society, and Morrow himself are dominated by the will of industry and Southern racism, which cannot overcome attempts at racial reconciliation. Government in the post-Reconstruction South, Sheldon’s play observes, was subsumed by the darkest elements of modern society: the anti-democratic power of industry; the primitive backwardness of American regions not fully engaged in the urban, modern world; and the legacies of American chattel slavery, the root source of American market successes in the nineteenth century.
A companion to twentieth-century American drama by David Krasner