Download e-book for kindle: A History of Modern Drama, Volume I by David Krasner

By David Krasner

ISBN-10: 1405157577

ISBN-13: 9781405157575

ISBN-10: 1444343769

ISBN-13: 9781444343762

Content material:
Chapter 1 advent (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 procedure (pages 235–258):
Chapter 18 Illusions (pages 265–274):
Chapter 19 Delusions (pages 275–280):
Chapter 20 desires (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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Download e-book for iPad: A History of Modern Drama, Volume I by David Krasner

Content material: bankruptcy 1 advent (pages 1–31): bankruptcy 2 the cost of Freedom (pages 39–79): bankruptcy three Unhinged Subjectivity (pages 80–108): bankruptcy four Aboulia (pages 109–135): bankruptcy five emerging Symbolism (pages 145–157): bankruptcy 6 emerging Expressionism (pages 158–166): bankruptcy 7 Rural Realism (pages 171–177): bankruptcy eight city Realism (pages 178–181): bankruptcy nine positive ardour (pages 182–188): bankruptcy 10 The crusade opposed to Earnestness (pages 189–192): bankruptcy eleven Distorted Modernism (pages 195–202): bankruptcy 12 Lyrical Modernism (pages 203–209): bankruptcy thirteen Sentimental Modernism (pages 210–214): bankruptcy 14 Eros and Thanatos (pages 217–225): bankruptcy 15 Robots and Automatons (pages 226–228): bankruptcy sixteen Farce and Parody (pages 229–234): bankruptcy 17 Gaming the procedure (pages 235–258): bankruptcy 18 Illusions (pages 265–274): bankruptcy 19 Delusions (pages 275–280): bankruptcy 20 goals (pages 281–288): bankruptcy 21 Gender (pages 289–292): bankruptcy 22 Race (pages 293–299): bankruptcy 23 The Farce of Intimacy (pages 307–314): bankruptcy 24 The Tragedy of Intimacy (pages 315–323): bankruptcy 25 Beckett Impromptu (pages 325–348):

Additional resources for A History of Modern Drama, Volume I

Sample text

Trauma reflects a shattering nature often unavailable to conscious recollection and understanding. Ibsen, Strindberg, and Chekhov replicate the murky patterns of human consciousness, the inchoate barrage of impressions, impulses, memories, and eruptions of anguish and desire that form the thought patterns of modern culture. They tried to reverse the traditional consensus of nineteenth-century drama; instead of rendering the social landscape by a searchlight of melodrama’s sweeping surfaces, they prowled the labyrinthine cubicles of the inner self, the dehiscence of everyday existence.

The grave kills memory (34). To be modern as Danton (and Woyzeck, as we will shortly see) is to be cognizant of the alienation from authority and to understand the powerlessness it creates. Romantic idealists hoped that by overthrowing the past a vastly improved future would emerge; but modernists knew better. The whole edifice of reason argued for by the Enlightenment, and the whole foundation of lyricism and aesthetic beauty as the antidote to the modern world argued for by Schiller and the Romanticists, are challenged – indeed overthrown and refuted by Büchner’s skepticism and vision of revolutionary horror.

Our kind is miserable only once: in this world and in the next. I think if we ever got to Heaven we’d have to help with the thunder (110). This speech is remarkable for several reasons. First is Woyzeck’s prescient understanding of money. Not just cash, but what money means socially, politically, and ethically; as Marx noted (see quote above), money has the power to change reality and ethics. Second is his keen, self-effacing irony about his proletarian condition: even God partakes in the joke at his expense.

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A History of Modern Drama, Volume I by David Krasner


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