By David Krasner
Masking the interval 1879 to 1959, and taking in every little thing from Ibsen to Beckett, this publication is quantity one in all a two-part finished exam of the performs, dramatists, and routine that contain smooth international drama.Contains exact research of performs and playwrights, connecting topics and providing unique interpretationsIncludes insurance of non-English works and traditions to create an international view of contemporary dramaConsiders the impression of modernism in paintings, track, literature, structure, society, and politics at the formation of recent dramatic literatureTakes an interpretative and analytical method of sleek dramatic texts instead of targeting creation historyIncludes insurance of the ways that staging practices, layout innovations, and appearing kinds trained the development of the dramas
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Extra info for A History of Modern Drama, Volume 1
110). Strange answer indeed, yet Woyzeck understands the irony of his plight. The hypocrisy of marriage and the sanctioning of the state’s religion mean little amidst poverty. In remarks anticipating Marx’s Communist Manifesto and twentieth-century social dramas, Woyzeck expresses conditions that are perhaps the most lyrical and profound on behalf of the working class ever written. It’s us poor people that … You see, Captain, sir … Money, money! indd 29 8/11/2011 3:18:00 PM 30 A History of Modern Drama me into the world?
Humiliated, he follows them, watches them dance, tries to defy the stronger and more athletic Drum Major, and ends up taking a terrific beating in public. He murders Marie in a fit of jealous rage. Despite his incapacities, he struggles to make sense of his life, is prone to expressing philosophic ideas, and in this way he can be seen as an alienated precursor to Chekhov’s Uncle Vanya, Arthur Miller’s Willy Loman, Vladimir and Estragon in Waiting for Godot, and the Young Woman in Sophie Treadwell’s play Machinal (in the last case we also have, like Woyzeck, a murderer and an effort to evoke sympathy for the protagonist).
Danton is, in Büchner’s play, overwhelmed by the horrible fatalism of history: he is stymied, abjures action, suffers from acedia, and is plagued by what would become known in modern drama as existential angst and inertia. Büchner’s thinking, like Nietzsche’s to come, was an inversion of Hegel’s; Büchner was deeply pessimistic about the power of reason to influence history or the course of human events. According to Schopenhauer, we are imprisoned by our will; the world is what Kant said it was – a realm of appearances, of phenomena, of things-in-themselves that we can never get our head around.
A History of Modern Drama, Volume 1 by David Krasner