By David Krasner
A heritage of contemporary Drama: Volume II explores a awesome breadth of themes and analytical methods to the dramatic works, authors, and transitional occasions and activities that formed international drama from 1960 via to the sunrise of the recent millennium.
- Features targeted analyses of performs and playwrights, reading the impact of a variety of writers, from mainstream icons akin to Harold Pinter and Edward Albee, to extra unorthodox works through 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 effect of artwork, tune, literature, structure, society, politics, tradition, and philosophy at the formation of postmodern dramatic literature
- Combines wide-ranging subject matters with unique theories, foreign standpoint, and philosophical and cultural context
Completes a finished two-part paintings studying glossy global drama, and along A background of contemporary Drama: Volume I, bargains readers whole assurance of an entire century within the evolution of worldwide dramatic literature.
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Additional info for A history of modern drama. Volume II : 1960-2000
47 Marriage can hardly be “represented” onstage or elsewhere since it is, like every communicative bond, inchoate. ”48 Language for Derrida reveals an “absence” (or what he calls a “trace”) – and herein lies Pinter’s ironic humor. Whereas in modernism, Derrida remarks, “the signified always already functions as a signifier”49 – the representation is directly and “always already” symbolizing the thing it represents – linguistic meaning in postmodern or poststructural terms depends on unsustainable claims, ironic assertions, and mere “traces” of reality.
While Parks’s early works traffic in absurdism and postmodern repetition (characters go through the same actions, like the murder of Abraham Lincoln, several times in her America Play), her later plays, such as In the Blood (2000), have steadily moved toward realism, with the absurdity more embedded in character and situation. The plays also shift from broadly construed, non‐specific settings to external (under a bridge in In the Blood) or domestic (Topdog/Underdog) specificity. If the great merit of postmodernism is its revisionism that jettisoned modernist principles, its great weakness is that it has too easily placed itself outside the confines of modernity.
85 Events are selected, with each interconnected by similar time and place, but different owing to human relationship to the events.
A history of modern drama. Volume II : 1960-2000 by David Krasner