A history of modern drama. Volume II : 1960-2000 - download pdf or read online

By David Krasner

ISBN-10: 1118893204

ISBN-13: 9781118893203

ISBN-10: 1118893247

ISBN-13: 9781118893241

ISBN-10: 1118893271

ISBN-13: 9781118893272

A background of contemporary Drama: Volume II explores a impressive breadth of issues and analytical ways to the dramatic works, authors, and transitional occasions and routine that formed international drama from 1960 via to the sunrise of the hot millennium.

  • Features precise analyses of performs and playwrights, interpreting the impact of quite a lot of writers, from mainstream icons corresponding to Harold Pinter and Edward Albee, to extra unorthodox works by way of Peter Weiss and Sarah Kane
  • Provides international assurance of either English and non-English dramas – together with works from Africa and Asia to the center East
  • Considers the impact of artwork, song, literature, structure, society, politics, tradition, and philosophy at the formation of postmodern dramatic literature
  • Combines wide-ranging themes with unique theories, overseas viewpoint, and philosophical and cultural context

Completes a finished two-part paintings reading glossy international drama, and along A background of recent Drama: Volume I, deals readers entire assurance of an entire century within the evolution of worldwide dramatic literature.

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As an empty shell himself, Nick feels confident he can swing whichever way the game is played, largely because his vapidity is the very essence of his identity – his emptiness is his core. He can play the game without understanding it because the game for him has no end point, conclu­ sion, or result: the game is his only reality, a repetition of a charade of a simulacrum: nick: I’ll play the charades like you’ve got ’em set up. … I’ll play in your language. … I’ll be what you say I am. george: You are already … you just don’t know it.

66 Wallerstein’s point is that oppressed people no longer held out hope from either the two world powers (US and USSR) or third‐world revolutionary governments seeking to replace them. The disillusionment led to skepticism that history, or at least positivist history embraced by modernism, Marxism, or other progressive movements, was apodictic and on their side. Creeping improvements were met with setbacks, liberalism grew untrustworthy, and people could no longer be persuaded that the march of history would present a beneficial future.

37 In The Postmodern Condition, Lyotard challenges the “grand narratives” of the Enlightenment‐modernist tradition in favor of the “petit recits” of minorities, women, non‐Westerners, and others. ”38 Postmodernists claim the ideal (Platonic or otherwise) is a false paradigm; we can never attain the purity of our goals so why persist in pursuing them? ”39 To break down this new era’s aesthetics, I examine some of the key constituents (in no particular order) of postmodernism. Constituents of Postmodernism Irreverence and bricolage Postmodernism circa 1960 to 2000 translates artistically into irreverence for icons (drawing a moustache on the Mona Lisa, for instance), encouraging collage (think of a Kurt Vonnegut novel), being skeptical of the poet Keat’s equation of beauty and truth, antithetical to the high seriousness of mod­ ernism, willfully disregarding hierarchies and value judgments, celebrating graffiti art, frivolity over functionalism, discarding judgments, mixing gauche and kitsch with “high art” (polyester and silk, for instance), and ultimately a bricolage aesthetic.

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A history of modern drama. Volume II : 1960-2000 by David Krasner

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