By David Krasner
Protecting the interval 1879 to 1959, and taking in every little thing from Ibsen to Beckett, this publication is quantity considered one of a two-part accomplished exam of the performs, dramatists, and routine that contain sleek global drama.Contains distinctive research of performs and playwrights, connecting subject matters and supplying unique interpretationsIncludes assurance of non-English works and traditions to create a world view of contemporary dramaConsiders the impact of modernism in paintings, tune, literature, structure, society, and politics at the formation of recent dramatic literatureTakes an interpretative and analytical method of glossy dramatic texts instead of concentrating on creation historyIncludes assurance of the ways that staging practices, layout suggestions, and appearing kinds educated the development of the dramas
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Extra resources for A History of Modern Drama, Volume 1
Indd 34 8/11/2011 7:19:47 PM Trauma Drama 35 Ibsen, Strindberg, and Chekhov never completely abandoned the structural framework of melodrama, but worked within it and simultaneously rebelled against its causal narrative progression and rigid moral clarity. Instead of predictability, the three dramatists illuminated a dreamlike pulse of modernism, prying open the logical coherence of surfaces in order to illustrate a messier interiority and conflicting morality. Their theatrical space – dialogue, situations, relationships, and stage settings – gyrates with alternatives, spontaneity, and complexity unmatched by their contemporaries.
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.
The use of things and their possession, as in the case of politics and love in Danton’s Death and Woyzeck respectively, fail because we cannot truly know what they mean or what they are except as mere possession – mere phenomena that eventually disappoint. Desire is illusionary; we are nothing more than riding a wave. ”93 There can hardly be a better description of Büchner’s Danton. In 1835 he wrote: The dramatic poet is, in my view, nothing but a writer of history. […] His greatest task is to come as close as possible to history as it actually was.
A History of Modern Drama, Volume 1 by David Krasner