By David Krasner
A heritage of recent Drama: Volume II explores a impressive breadth of themes and analytical techniques to the dramatic works, authors, and transitional occasions and routine that formed international drama from 1960 via to the sunrise of the recent millennium.
- Features distinctive analyses of performs and playwrights, studying the impression of a variety of writers, from mainstream icons comparable to Harold Pinter and Edward Albee, to extra unorthodox works by means of Peter Weiss and Sarah Kane
- Provides worldwide assurance of either English and non-English dramas – together with works from Africa and Asia to the center East
- Considers the effect of paintings, track, literature, structure, society, politics, tradition, and philosophy at the formation of postmodern dramatic literature
- Combines wide-ranging subject matters with unique theories, foreign point of view, and philosophical and cultural context
Completes a finished two-part paintings reading sleek international drama, and along A historical past of contemporary Drama: Volume I, bargains readers entire assurance of an entire century within the evolution of world dramatic literature.
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Extra info for A history of modern drama. Volume II : 1960-2000
The world now exists as stimulants without referents, functioning in a Disneyland‐like society unhinged from moral or material certainty, and ceases to be understood as part of a strategy for understanding any social cohesion. 1968 The rise of dramatic art from 1960 to 2000 was, to borrow Pierre Bourdieu’s notion of contentious “literary and artistic fields,”65 deeply indebted to the events of, and leading up to, 1968. In many ways 1968 was for twentieth‐ century postmodernism what 1848 was to nineteenth‐century modernism: a period of revolution where the wholesale reconfiguration of values, 28 A History of Modern Drama governments, and ideas occurred.
There were, of course, setbacks – the Cold War, McCarthyism in America, the rise of fascism in Latin America, and the Korean conflict among them – but overall the spirit of the times bespoke a new beginning in the world. There was a feeling in the zeitgeist that communication (communicative action) would unite people, creating an optimistic faith in many postwar projects. The United Nations, which was established at the end of World War II, would inspire multilateral cultures to hasten the pro cess of peace, convergence, and harmonization.
S. hegemonic power, simultaneously with a complaint that the Soviet Union, the presumed antagonist of the United States, was actually colluding in the world order that the United States had established. And the second was that the traditional anti‐systemic movements had not fulfilled their promises once in power. The combination of these complaints, so widely repeated, constituted a cultural earthquake. The many uprisings were like a phoenix and did not put the multiple revolutionaries of 1968 in power, or not for very long.
A history of modern drama. Volume II : 1960-2000 by David Krasner