By David Krasner
A heritage of contemporary Drama: Volume II explores a awesome breadth of subject matters and analytical ways to the dramatic works, authors, and transitional occasions and pursuits that formed global drama from 1960 via to the sunrise of the hot millennium.
- Features specified analyses of performs and playwrights, analyzing the effect of quite a lot of writers, from mainstream icons similar to Harold Pinter and Edward Albee, to extra unorthodox works by way of Peter Weiss and Sarah Kane
- Provides worldwide insurance 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 standpoint, and philosophical and cultural context
Completes a complete two-part paintings studying sleek global drama, and along A heritage of recent Drama: Volume I, bargains readers entire assurance of an entire century within the evolution of worldwide dramatic literature.
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Additional info for A history of modern drama / Vol. 1
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. But even he ultimately fails to gauge the full extent of what this violence has unleashed; the backlash against him as his fellow revolutionaries took the supreme moment of revolution in 1789 down the slippery slope of murderous abyss during the Reign of Terror (July 1793 to July 1794). The political culture of absolutism and its end were in fact not an end at all but merely a shift from one authoritarian regime to another.
Prior wars were fought chivalrously – élite knights and a few peasants engaging in combat away from civilians. Monarchs were generally afraid of arming too many civilians, thereby keeping war for the most part a private affair. Bell, quoting Clausewitz, says that before the French Revolution, “war was waged in a way that a pair of duellists carried out their pedantic struggles. ” In contrast, Napoleon created “war of all against all. ”97 Napoleon raised massive armies, establishing military service as (hopefully, though often not the case) an honorable insignia for the common folk.
Robespierre seeks to weed out dissent, while Danton, who at first supported Revolutionary aims, now sees only bloodbath. Danton has cryptically turned his back on his revolutionary comrades, disgusted by the excrescent brutality and the mere replacement of one horrific regime with another. Robespierre and his acolyte St. Just maintain the belief that the end justifies the means; Danton, witnessing bloodshed of staggering proportions, overthrows his revolutionary ideals and embraces a Schopenhauerian pessimism.
A history of modern drama / Vol. 1 by David Krasner