A history of modern drama / Vol. 1 by David Krasner

By David Krasner

A heritage of contemporary Drama: Volume II explores a amazing breadth of subject matters and analytical techniques to the dramatic works, authors, and transitional occasions and events that formed global drama from 1960 via to the sunrise of the recent millennium.

  • Features particular analyses of performs and playwrights, analyzing the impression 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 insurance 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 issues with unique theories, foreign standpoint, and philosophical and cultural context

Completes a entire two-part paintings interpreting sleek international drama, and along A background of contemporary Drama: Volume I, bargains readers entire assurance of an entire century within the evolution of worldwide dramatic literature.

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Extra resources for A history of modern drama / Vol. 1

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Robespierre is a perfect foil to Danton (who speaks for the playwright): he is Machiavellian – the end justifies the means – yet his repressed hostility is barely hidden from the surface. indd 23 8/11/2011 3:17:59 PM 24 A History of Modern Drama understanding of Revolutionary violence, harnessing it towards Jacobin ends. Büchner captures Robespierre’s brilliance as a politician and his sophisticated manipulation of revolutionary violence, demonstrating an impressive skill at diplomacy and orchestrating human behavior.

The “will” as Schopenhauer remarks and Büchner equally shows lies outside representation because it is that which cannot be reached or grasped by way of separate, independent objects defined by association and causal analysis. The world of appearances is what Kant said: it is all we can fathom; and for Schopenhauer and Büchner the life urgings prompted by the will (desire) are nothing more than urges towards preservation and consumption. The use of things and their possession, as in the case of politics and love in Danton’s Death and Woyzeck respectively, fail because we cannot truly know what they mean or what they are except as mere possession – mere phenomena that eventually disappoint.

The author set out to write a vividly imagined living history (some of the speeches by the revolutionaries are incorporated verbatim into the play) with a dramatic structure suited to the unfolding pace of changing events. The play takes place in 1793 under Robespierre’s dictatorship. The central figures are Robespierre, the ruthless idealist, and Danton, the cynical-realist whose distain for the revolution riles Robespierre. Robespierre seeks to weed out dissent, while Danton, who at first supported Revolutionary aims, now sees only bloodbath.

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