By Susan Harris Smith
During this e-book, Susan Harris Smith appears to be like on the many frequently conflicting cultural and educational purposes for the forget and dismissal of yankee drama as a sound literary shape. masking a variety of subject matters comparable to theatrical functionality, the increase of nationalist feeling, the construction of educational disciplines, and the advance of sociology, Smith's research is a contentious and revisionist ancient inquiry into the stricken cultural and canonical prestige of yank drama, either as a literary style and as a replicate of yankee society.
Read Online or Download American Drama: The Bastard Art PDF
Similar dramas & plays books
“Kabale und Liebe”, eines der bedeutendsten deutschen Dramen, stammt aus der Epoche der Aufklärung und zählt zum sogenannten “Sturm und Drang”. Schiller erzählt von der unglücklichen, aber hingebungsvollen Liebe der bürgerlichen Musikertochter Luise zum adligen Ferdinand, die durch infame Intrigen zerstört wird.
Kleist used to be an immense dramatist at the start of the 19th century and Käthchen used to be one in all his maximum level successes. Reeve offers a quick define of the Kleist kinfolk involvement within the Prussian aristocracy and Kleist's reactions to his historical past. He additionally surveys the literary critics' makes an attempt to return to phrases with Käthchen, noting a revisionist pattern which affiliates Kleist with the bourgeois liberalism of his time.
- Comedy and the Rise of Rome
- Staging the War: American Drama and World War II
- Remembering and Imagining the Holocaust: The Chain of Memory (Cambridge Studies in Modern Theatre)
- The Shattered Thigh and Other Plays
- Disease, Diagnosis, and Cure on the Early Modern Stage (Literary and Scientific Cultures of Early Modernity)
- Played in Britain : Modern Theatre in 100 Plays, 1st Edition
Extra info for American Drama: The Bastard Art
Charles Angoff, in his four-volume A Literary History of the American People (1931), points an accusatory finger at persistent Puritanism. He notes that Harvard, though it modeled itself after Cambridge and Oxford, did not follow their example in including playwriting in its curriculum. The moral issue was compounded by a political one: From 1774 to 1783, the theatre was under full control of the British military. The moral bias against theatre persisted up to the Civil War. In 1824, Yale's president declaimed that to indulge in playgoing meant "'nothing more or less than the loss of that most valuable treasure, the immortal soul'" (375).
Howard Mumford Jones and Ernest Leisy did not include playwrights in Major American Writers (1935), but they did argue that the "humorless reasonableness" of "sociological" drama, that is, the serious "problem" play, written before 1910 was simply a weak echo of the magazines that were excoriating modern industrial society: "When the American stage was reborn after its long immersion in false and theatrical romanticism, it became too accusatory" (20). Of course, English taste dictated American taste to a large degree.
He continues with his assessment: "We have not had a serious American political drama comparable to the works of Bertolt Brecht, Albert Camus, or Ugo Betti, no sustained examination of the moral complications of power, or of that large spiraling landscape lying between the lowest and highest levels of society," nothing like "Shakespeare's history plays" (7). Though from a stringently elitist, Eurocentric perspective there might be some shadow of truth to Brustein's, Krutch's and Freedman's charges, their exaggeration of the lack of breadth and depth demonstrated by a number of American writers needs to be qualified and placed in a historical context.