By David Krasner
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 confident 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 process (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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Additional resources for A History of Modern Drama, Volume I
The result of their plays is a powerful shift in the language of form and the meaning of content, congeries of disparate philosophical and psychological inclinations of modernism. They overturned the nineteenth-century style of melodrama that was essentially predictable, stolid, and sentimental, by creating explosive challenges to conventional wisdom. The basic structure of melodrama was the pièce bien faite, the well-made play used ubiquitously by dramatist Emile Augier, August von Kotzebue, Victorien Sardou, and Alexander Dumas fils, but none more so than Augustin-Eugène Scribe (1791–1861).
How should I know! We know little enough about one another. We’re thick-skinned creatures who reach out our hands toward one another, but it means nothing – leather rubbing against leather – we’re very lonely. JULIE: But you know me, Danton. DANTON: Yes, that’s what they call it. You have dark eyes and curly hair and a delicate complexion and you always call me: dear Georges! But (Touches her forehead and eyelids) what about here, and here? What goes on behind here? No there’s nothing delicate about our senses.
Fumbling inarticulateness, agitated silence, and stuttering emotion replaced linguistic lucidity and emotional coherence. ”108 Chekhov rejected any pretensions of supreme answers to life’s questions; like Ibsen he abhorred lies, and like Strindberg he looked into the eyes of his characters’ psyche without blinking. ”109 No one was beyond his affection; no one was spared lampooning; and his plays reflect the modernist notion of time’s effect on characters, that same preoccupation in the doorstop novels of Tolstoy.
A History of Modern Drama, Volume I by David Krasner