By David Krasner
A historical past of contemporary Drama: Volume II explores a striking breadth of issues and analytical methods to the dramatic works, authors, and transitional occasions and events that formed international drama from 1960 via to the sunrise of the hot millennium.
- Features particular analyses of performs and playwrights, analyzing the effect of a variety of writers, from mainstream icons resembling Harold Pinter and Edward Albee, to extra unorthodox works via 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 impression of paintings, track, literature, structure, society, politics, tradition, and philosophy at the formation of postmodern dramatic literature
- Combines wide-ranging themes with unique theories, foreign viewpoint, and philosophical and cultural context
Completes a accomplished two-part paintings analyzing glossy international drama, and along A background of contemporary Drama: Volume I, bargains readers entire insurance of an entire century within the evolution of worldwide dramatic literature.
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Extra resources for A history of modern drama. Volume II : 1960-2000
For Foucault, the Marquis de Sade symbolizes the ultimate philosopher who influences Nietzsche, the ultimate theatre artist who influences Artaud, and the ulti mate painter who influences Goya. Sade, Foucault claims, makes all human activity, reasonable or unreasonable, a product of human nature, and thus the antithesis of Marat, who is the product of Enlightenment rationalism: reason can overcome nature and all man‐made obstacles. ”83 Rather than a social contract (to borrow Rousseau’s term) that addresses the inequities and injustices of unreason (Hegel), nature (Rousseau), or government (Marx), Sade falls on the side of “sadism” by advocating unnat ural acts of violence (dubbed madness by rational society, but for Foucault and Sade, the only “logical” reaction to their contemporary world).
In Intimations of Postmodernity, Zygmunt Bauman writes that the “collapse of communism was the final nail in the coffin of the modern ambitions which drew the horizon of European (or Europe‐influenced) history of the last two centuries. ”68 When socialist utopia failed, it precipitated the collapse of modernism’s driving force. War as a means toward democratization and social equality was no longer tenable. World War II, which symbolized modernism’s struggle against totalitarianism, epitomized the modernist value of conflict.
When each fragment of reality is pieced together we can discover some meaning in the multifariousness of the experienced world. In contrast, postmodern ism builds on the philosophies of Nietzsche and Heidegger, who consider totality a false paradigm. Existence is never “finished” or made whole, but rather we are continually thrown into the world, not “always already” (to borrow a particular Derrida coinage meaning “fixed”) but rather cast into history, thrust into the unknown and unknowable. For Nietzsche and Heidegger, we live in a world of becoming, enveloped in constant change and irreducible diversity.
A history of modern drama. Volume II : 1960-2000 by David Krasner