By David Krasner
A heritage of recent Drama: Volume II explores a notable breadth of themes and analytical methods 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 precise analyses of performs and playwrights, analyzing the impression of quite a lot of writers, from mainstream icons equivalent to Harold Pinter and Edward Albee, to extra unorthodox works by way of 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 impression of artwork, song, literature, structure, society, politics, tradition, and philosophy at the formation of postmodern dramatic literature
- Combines wide-ranging issues with unique theories, foreign point of view, and philosophical and cultural context
Completes a complete two-part paintings interpreting sleek international drama, and along A heritage of recent Drama: Volume I, deals readers whole assurance of an entire century within the evolution of world dramatic literature.
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Additional info for A history of modern drama. Volume II : 1960-2000
55 The commitment to “reusing” material is evident in the idea of “strangers” – Williams takes the term seri ously as a poetic rendering of a social condition and connection, whereas Pinter’s version unintentionally reuses Williams’s term ironically, indeed almost bitterly reminding us of our social disconnection. Rejection of the autonomous artist Modern artists believe in their abilities to attain autonomy, to reject the commercialism and parochialism of kitsch in order to maintain high art as above the fray.
Tarantino is the quintessential postmodernist director, mixing genres, playing with expectations, dissembling ideas of race, gender, and class, and taking vio lence past the point of hyper‐realism and into a cacophony of sensations. David Henry Wallace is a postmodern novelist because he is untethered to genres, forms, or style; his work moves stylistically from scholarly to pop culture to curious tangents. Andy Warhol, Roy Lichtenstein, Keith Herring, Louise Bourgeois, and Jean‐Michel Basquiat are postmodern artists because they mix kitsch with classicism, soup cans and graffiti formalized and struc tured, or child‐like images as aesthetics.
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. But they legitimated and strengthened the sense of disillusionment not only with the old antisystemic movements but also with the state structures these movements had been fortifying.
A history of modern drama. Volume II : 1960-2000 by David Krasner