By David Krasner
Masking the interval 1879 to 1959, and taking in every thing from Ibsen to Beckett, this e-book is quantity one in all a two-part complete exam of the performs, dramatists, and hobbies that contain glossy global drama.Contains designated research of performs and playwrights, connecting issues and supplying unique interpretationsIncludes insurance of non-English works and traditions to create a world view of recent dramaConsiders the impression of modernism in artwork, song, literature, structure, society, and politics at the formation of contemporary dramatic literatureTakes an interpretative and analytical method of sleek dramatic texts instead of concentrating on creation historyIncludes assurance of the ways that staging practices, layout suggestions, and appearing types trained the development of the dramas
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Extra resources for A History of Modern Drama, Volume 1
This speech is remarkable for several reasons. First is Woyzeck’s prescient understanding of money. Not just cash, but what money means socially, politically, and ethically; as Marx noted (see quote above), money has the power to change reality and ethics. Second is his keen, self-effacing irony about his proletarian condition: even God partakes in the joke at his expense. He is a proletarian not only for life but into the “after” life. ”100 It is not merely Woyzeck’s obsession with money that matters, but a modern concept of money in which possession preempts and renders unnecessary all pre-monetary forms of social relationships: reciprocity, redistribution, kinship, ritual, family, and morality.
Lopakhin’s purchase of Lyubov Andreevna’s land and turning it into summer cottages in Chekhov’s The Cherry Orchard is emblematic of the global transition from wealthy, aristocratic landowners to capitalist dispensers of private property. Atavistic ownership of land now became dissected and bartered, used in the marketplace as one of many exchange commodities. But unlike his two great contemporaries, Chekhov reserved harsh and systematic judgment. ”111 Rather than sharp spotlight, his palette is closer to the Impressionists, with fuzzier moral lines and softer shadings.
The basic structure of melodrama was the pièce bien faite, the well-made play used ubiquitously by dramatist Emile Augier, August von Kotzebue, Victorien Sardou, and Alexander Dumas fils, but none more so than Augustin-Eugène Scribe (1791–1861). Scribe’s prodigious output of plays, vaudeville, libretti, and operas (totaling 374) influenced comedies, musicals, and dramas. Stephen Stanton describes the basic features of the well-made play: the plot is based on a secret known to the audience but withheld from certain characters; through the course of the play intrigues are uncovered incrementally; the endings create a climactic scene unmasking the fraudulent character, restoring moral order and good fortune to the suffering hero (a protagonist whose plight we have been made to sympathize); an ensuing pattern of increasingly intense action and suspense, instigating a series of reversals, or ups and downs (the Aristotelian term is peripeteia, change in fortune), which precipitate the fate of the hero; the conclusion of a scène à faire, or obligatory scene, marking the hero’s lowest and highest points; a central misunderstanding leading to quid pro quo (something for something) in which things become clarified, followed by a logical and credible dénouement (ending).