Download e-book for kindle: A History of Modern Drama, Volume I by David Krasner
By David Krasner
Chapter 1 creation (pages 1–31):
Chapter 2 the cost of Freedom (pages 39–79):
Chapter three Unhinged Subjectivity (pages 80–108):
Chapter four Aboulia (pages 109–135):
Chapter five emerging Symbolism (pages 145–157):
Chapter 6 emerging Expressionism (pages 158–166):
Chapter 7 Rural Realism (pages 171–177):
Chapter eight city Realism (pages 178–181):
Chapter nine positive ardour (pages 182–188):
Chapter 10 The crusade opposed to Earnestness (pages 189–192):
Chapter eleven Distorted Modernism (pages 195–202):
Chapter 12 Lyrical Modernism (pages 203–209):
Chapter thirteen Sentimental Modernism (pages 210–214):
Chapter 14 Eros and Thanatos (pages 217–225):
Chapter 15 Robots and Automatons (pages 226–228):
Chapter sixteen Farce and Parody (pages 229–234):
Chapter 17 Gaming the method (pages 235–258):
Chapter 18 Illusions (pages 265–274):
Chapter 19 Delusions (pages 275–280):
Chapter 20 goals (pages 281–288):
Chapter 21 Gender (pages 289–292):
Chapter 22 Race (pages 293–299):
Chapter 23 The Farce of Intimacy (pages 307–314):
Chapter 24 The Tragedy of Intimacy (pages 315–323):
Chapter 25 Beckett Impromptu (pages 325–348):
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Shakespeare for Hettner, Jorgenson says, “had been concerned only with the reproduction of history and the writing of poetry. He had not thought it necessary to bring the historical subject matter into any living relationship with the present”; Hettner “insisted that the genuine historical drama must begin with the present. ”132 For Hettner, modern drama is ideally located midway between the investigation of character development and contemporary social conflicts, the background events sharing focus with the character’s complexity.
Part I Trauma Drama When I speak of modern drama, I naturally refer only to those regions of dramatic literature that, sparsely inhabited as they may be, are yet essentially new. Down below, in the ordinary theatre, ordinary and traditional drama is doubtless yielding slowly to the influence of the vanguard; but it were idle to wait for the laggards when we have the pioneers at our call. – Maurice Maeterlinck103 Henrik Ibsen, August Strindberg, and Anton Chekhov were hailed not only for their groundbreaking techniques and glittering display of theatricality, but also for their complexity – the density, compelling allusiveness, and passion exhibited in their plays.
They overturned the nineteenth-century style of melodrama that was essentially predictable, stolid, and sentimental, by creating explosive challenges to conventional wisdom. 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.
A History of Modern Drama, Volume I by David Krasner