Journal articles: 'Modern American drama'

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Parsons, E. "Modern American Drama on Screen * Modern British Drama on Screen." Adaptation 8, no. 1 (February 18, 2015): 145–46. http://dx.doi.org/10.1093/adaptation/apv002.

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Henke, Richard, and C. W. E. Bigsby. "Modern American Drama: 1945-1990." American Literature 66, no. 4 (December 1994): 874. http://dx.doi.org/10.2307/2927741.

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Kolin, Philip C., and C. W. E. Bigsby. "Modern American Drama, 1945-1990." World Literature Today 68, no. 1 (1994): 135. http://dx.doi.org/10.2307/40149953.

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Abdulmunem Azeez, Rasha. "Paula Vogel And The Modern American Female Playwrights." Journal of the College of languages, no. 44 (June 1, 2021): 46–71. http://dx.doi.org/10.36586/jcl.2.2021.0.44.0046.

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Reading and analyzing Paula Vogel’s plays, the readers can attest that she achieves success in drama or theater because she is passionate about theater. Vogel is a modern American playwright who won the 1998 Pulitzer Prize for drama. Her success and insight in playwriting or in adapting do not come all of a sudden; she is influenced by many writers. Vogel is influenced by many American dramatists, including Eugene O’ Neill, Arthur Miller, Tennessee Williams, and Edward Albee, and by other non-American writers, including August Strindberg, Anton Chekhove, and Bertolt Brecht. Certainly, there were female playwrights who wrote preeminent plays and they influence Vogel as well. Nevertheless, dramas by female writers, as a matter of fact, remain marginalized. This paper focuses on the influence of some female playwrights on Vogel.

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Guerra, Jonnie G., June Schlueter, Alice M. Robinson, Vera Mowray Roberts, and Milly S. Barranger. "Modern American Drama: The Female Canon." Theatre Journal 44, no. 1 (March 1992): 125. http://dx.doi.org/10.2307/3208536.

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Ben-Zvi, Linda, and June Schlueter. "Feminist Rereadings of Modern American Drama." Modern Language Review 87, no. 3 (July 1992): 734. http://dx.doi.org/10.2307/3732980.

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Bower, Martha Gilman, and Patricia R. Schroeder. "The Presence of the Past in Modern American Drama." American Literature 61, no. 4 (December 1989): 718. http://dx.doi.org/10.2307/2927027.

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Elam, Jr., Harry. "August Wilson, Doubling, Madness, and Modern African-American Drama." Modern Drama 43, no. 4 (December 2000): 611–32. http://dx.doi.org/10.3138/md.43.4.611.

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Stroupe, John H., and Patricia R. Schroeder. "The Presence of the past in Modern American Drama." Modern Language Review 86, no. 3 (July 1991): 705. http://dx.doi.org/10.2307/3731052.

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Abdullah Hammood, Najim, Samer Dhahir Mahmood, and Mohamed Ramadhan Hashim. "The Offstage Character in Modern American Drama: Sam Shepard’s Buried Child." International Journal of Applied Linguistics and English Literature 9, no. 4 (July 31, 2020): 117. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.4p.117.

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This paper highlights and explains the impact of the offstage character, which is widely prevalent in the American drama, on the onstage characters and the audience as well. In the 20th century, American drama is marked by the loss and absence which depict the dark side of American society because of the ramifications of the two World Wars. These consequences are the major reasons behind man’s hopelessness, alienation and failure. With the great development in the field of psychology, at the hand of Sigmund Schlomo Freud in the 19th century, which paved the path for the writers to deeply burrow in the psychological issues that man suffers from in the modern and postmodern era. Consequently, writers, like Shepard, try to examine the hidden issues of their characters by dint of the offstage character in the context of a family that represents the society. These unseen characters have influential roles including; catalyst roles and the proximate cause which uncover the cause of the obliteration of American family members in the darkness of their sin. This paper also examines; the role played by the absent character in dealing with the critical issues of American society, such as the incestuous issues and the failure of the American dream.

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Woodson, Jon, and Walter A. Davis. "Get the Guests: Psychoanalysis, Modern American Drama, and the Audience." American Literature 67, no. 3 (September 1995): 607. http://dx.doi.org/10.2307/2927962.

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Price, Steven, Walter A. Davis, and Joel Pfister. "Get the Guests: Psychoanalysis, Modern American Drama, and the Audience." Modern Language Review 91, no. 4 (October 1996): 985. http://dx.doi.org/10.2307/3733553.

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Dervin, Daniel. "The Absent Father's Presence in Modern and American Gay Drama." American Imago 56, no. 1 (1999): 53–74. http://dx.doi.org/10.1353/aim.1999.0002.

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Case, Sue-Ellen. "Feminist Rereadings of Modern American Drama ed. by June Schlueter." Comparative Drama 25, no. 2 (1991): 202–4. http://dx.doi.org/10.1353/cdr.1991.0006.

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Marcinčin, Matúš. "Slovak Shakespeare in American Exile." Slovenske divadlo /The Slovak Theatre 65, no. 1 (March 28, 2017): 4–21. http://dx.doi.org/10.1515/sd-2017-0001.

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Abstract Ján Vilikovský’s synthesizing monograph Shakespeare u nás (2014) is a great study; however, it does not include the whole history of translations of Shakespeare’s dramas into the Slovak language. Slovak literary and theatre studies have not reflected this theme in relation to Slovak cultural exile after the year 1945. In the present contribution, the author completes the mentioned monograph by Vilikovský, he adds and deals especially with translations written in exile by Andrej Žarnov and Karol Strmeň. He pays special attention to the fragments of translations of Shakespeare’s dramas found as a manuscript in the inheritance left after the tragic death of their author Karol Strmeň. The author reconstructs the fragments and then analyses and compares them with relevant Slovak and Czech translations of Shakespeare’s works. As a result of this study, it can be concluded that the translations by Strmeň written in a modern, cultivated, although slightly archaic Slovak language would have achieved an important position in the history of Slovak translations of Shakespeare’s drama if they had been published.

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Menefee, Charissa. "Visions of Tragedy in Modern American Drama ed. by David Palmer." Theatre History Studies 38, no. 1 (2019): 232–34. http://dx.doi.org/10.1353/ths.2019.0021.

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Zimmerman, Jonathan. "Brown-ing the American Textbook: History, Psychology, and the Origins of Modern Multiculturalism." History of Education Quarterly 44, no. 1 (2004): 46–69. http://dx.doi.org/10.1111/j.1748-5959.2004.tb00145.x.

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In June 1944, a delegation of African-American leaders met with New York City school officials to discuss a central focus of black concern: history textbooks. That delegation reflected a broad spectrum of metropolitan Black opinion: Chaired by the radical city councilman Benjamin J. Davis, it included the publisher of theAmsterdam News—New York's major Black newspaper—as well as the bishop of the African Orthodox Church. In a joint statement, the delegates praised public schools' recent efforts to promote “intercultural education”—and to reduce “prejudice”—via drama, music, and art. Yet if history texts continued to spread lies about the past, Blacks insisted, all of these other programs would come to naught. One book described slaves as “happy”; another applauded the Ku Klux Klan for keeping “foolish Negroes” out of government. “Such passages… could well have come from the mouths of the fascist enemies of our nation,” the Black delegation warned. Even as America fought “Nazi doctrine” overseas, African Americans maintained, the country needed to purge this philosophy from history books at home.

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Vital, Feofania Yu. "Emotional Influence on the Viewer in Contemporary American Cinema." Journal of Flm Arts and Film Studies 8, no. 1 (March 15, 2016): 91–104. http://dx.doi.org/10.17816/vgik8191-104.

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The article studies the methods and means used in modern American film drama to control the audiences emotional state, sorting out the major techniques of such control as exemplified by specific films. The main focus is on the catharsis as the key moment of watching a film.

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Kim, Yungduk. "The Ethics of Vulnerability in Modern American and British Drama - O’Reilly’s Peeling -." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 70 (August 31, 2018): 63–86. http://dx.doi.org/10.21087/nsell.2018.08.70.63.

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Karnad, Girish. "Performance, Meaning, and the Materials of Modern Indian Theatre." New Theatre Quarterly 11, no. 44 (November 1995): 355–70. http://dx.doi.org/10.1017/s0266464x00009337.

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Girish Karnad is not only India's leading playwright, and a practitioner across the performing arts in all that nation's media, but the first contemporary Indian writer to have achieved a major production in a regional American theatre – Naga-Mandala, seen at the Guthrie Theatre in July 1993. The following interview was recorded on the occasion of that production, and ranges widely not only over Karnad's own work and its circumstances, but the situation and problems of the Indian theatre today, and its ambivalent relationship alike to its classical and its colonial past, and to the contemporary problems of its society. The interviewer, Aparna Dharwadker, is Assistant Professor of Drama and Eighteenth-Century British Studies at the University of Oklahoma. Her essays and articles have appeared or are forthcoming in PMLA, Modern Drama, and The Sourcebook of Post-Colonial English Literatures and Cultural Theory (Greenwood, 1995). She has also published collaborative translations of modern Hindi poetry in major anthologies, including The Oxford Anthology of Modern Indian Poetry (1994), and is currently completing a book-length study of the politics of comic and historical forms in late seventeenth-century drama.

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Al-Zubbaidi, Asst Prof Dr Haitham K. Eidan. "Dramatizing Modern American and Arabic Poetry A Study in Selected Poems by Kenneth Koch and Yousif Al-Sayegh." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 4 (December 17, 2019): 95–118. http://dx.doi.org/10.36473/ujhss.v58i4.1021.

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The interrelatedness of drama and poetry introduces one of the most exceptionally robust examples of trans-genre literature. It is further characterized by a deep-rooted tradition that dates back to ancient Greek and Roman drama, as well as a sense of circumstantial and ad hoc necessity-driven, age-oriented adaptability. The present paper assumes that this well-established sensitive relation of poetry and drama rests upon some circumstantial time-specific cultural forces or motivators that impact the ebb and flow, the expansion-contraction movements which are directly related to the temporal necessities and requirements of the textual and contextual poetic discourse. To this end, and to verify the accuracy of these assumptions, the paper limits itself to some representative examples from the oeuvres of two representative poets of the dramatic poetic tradition in modern American and Arabic poetry, namely Kenneth Koch (1925-2002) and Yousif al-Sayegh (1933-2006).

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Bentley, Eric, Robert Brustein, and Stanley Kauffmann. "The Theatre Critic as Thinker: a Round-Table Discussion." New Theatre Quarterly 25, no. 4 (November 2009): 310–23. http://dx.doi.org/10.1017/s0266464x09000608.

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In 1946, Eric Bentley published The Playwright as Thinker, a revolutionary study of modern drama that helped to create the intellectual climate in which serious American theatre would thrive in the second half of the twentieth century. In 1964 Robert Brustein published an equally influential study of modern drama entitled The Theatre of Revolt. And in 1966, Stanley Kauffmann began a brief, combative stint as first-string theatre critic for the New York Times. Kauffmann's short-lived tenure at the Times dramatized the enormous gap that had arisen between mainstream taste and the alternative vision of the theatre that he shared with Bentley and Brustein. Collectively, these three critics championed the European modern dramatists, like Pirandello, Brecht, Beckett, and Genet, whose plays were rarely if ever performed on Broadway. They also embraced the early work of performance groups such as Julian Beck and Judith Malina's Living Theater when they were either ignored or deplored by most mainstream reviewers. Above all, they challenged the time-honoured idea that the primary goal of the theatre is to provide the audience with an emotional catharsis achieved by realistically identifying with the dramatic protagonist. By contrast, Bentley, Brustein, and Kauffmann championed a theatre that emphasized poetic stylization, intellectual seriousness, and social engagement. The discussion which follows, held on 27 October 2007 at the Philoctetes Center, New York, examines the legacy of these leading American theatre critics of the past fifty years. Bert Cardullo, who transcribed and edited the discussion, was Stanley Kauffmann's student at the Yale School of Drama and is the author, editor, or translator of many books, among them Theater of the Avant-Garde, 1889–1950, What Is Dramaturgy?, and American Drama/Critics: Writings and Readings.

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Khalil, Haider Ibrahim, Abdullah Mohd Nawi, and Ansam Ali Flefil. "The Iceman Cometh (1939) is the Representation of the Social Problems by Eugene O’ Neill: Modern American Drama." Asia Proceedings of Social Sciences 7, no. 2 (March 27, 2021): 96–100. http://dx.doi.org/10.31580/apss.v7i2.1781.

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The main aim of this paper is to trace the social problems in The Iceman Cometh by Eugene O’Neill. The social issues are the pipe dream and hopelessness of man in American family and society. These social problems leads to tragic issues. The researcher is going to use the socialism theory by Karl Marx to tackle social issues (the hopelessness of man and the pipe dream) to present the tragic problems. The analysis of data will be qualitative approach and the technique is interpretive as storytelling type. The data is collected by the textual method. In the analysis and discussions part, the researcher will use the play (The Iceman Cometh) as the main idea of analysing. In conclusion, the findings will be analysed the speech of the characters in the play such as the actions of the plot, setting, and characters. This study will contribute/ add to academic, social, cultural, and literary in modern American drama. For example, literary contribution will be generalized as new study about the social problems in O’Neill’s plays. This study adds the literary background to modern American drama.

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Starostina, Julia S. "Linguoaxiosphere of Society and Personality in American Drama Discourse." Current Issues in Philology and Pedagogical Linguistics, no. 1(2021) (March 25, 2021): 203–13. http://dx.doi.org/10.29025/2079-6021-2021-1-203-213.

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The article presents the results of the study devoted to the linguistic axiological analysis of the XXI century American drama discourse. Contemporary drama discourse, due to its special linguistic status, is a space for verbal representation of characters’ individual axiological trajectories, the analysis of which contributes to determining the values, which are relevant for society as a whole. The aim of the study is to systematize the dynamic structural and content elements of drama characters’ personal axiological spheres and to define their involvement in the piece of social value paradigm, which has its linguistic reflection in modern American drama. The empirical research is based on the texts of the plays written by American playwrights in 2015-2020. Individual linguistic axiological spheres are examined in terms of flexible hierarchical structures, the dynamism of which is determined by the characters’ life experience. The method of linguistic axiological interpretation based on the combination of axiological analysis and discourse analysis is applied to show that the structure of individual linguistic axiological spheres presented in the contemporary American drama discourse is a simplified version of the social linguistic axiological sphere; it has fewer value dominants and evaluative vectors while preserving the diversity of linguistic means of evaluative representation. Linguistic marking of characters’ individual axiological spheres occurs with the help of evaluative utterances, which include evaluative lexemes. Their frequency is characterized by quantitative and qualitative fluctuations in the speech of different communicants and is predetermined by the evaluative potential of the word semantics. In American drama discourse, the individual axiological sphere has a linguistic representation not only in personal evaluative remarks, but also in the personage’s reaction to other people’s value judgments, as well as in the utterances where the object of evaluation is the character himself/herself. The discrepancy between the content-based evaluative vectors or the difference in the position of personal value dominants within individual linguistic axiological hierarchies can lead to communication failures. As a result of the linguistic axiological interpretation of individual linguistic axiological trajectories, represented in American dramatic discourse of the XXI century, a fragment of the current American social linguistic axiological sphere is identified, and the central value dominants are highlighted.

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Khalil, Haider Ibrahim, Abdullah Mohd Nawi, and Ansam Ali Flefil. "The Emperor Jones is the Reflection of the Black White Struggle: Modern American Drama." Asia Proceedings of Social Sciences 7, no. 2 (March 27, 2021): 101–4. http://dx.doi.org/10.31580/apss.v7i2.1782.

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The Emperor Jones is the best viewpoint of O’Neill’s plays in depicting the black white people. This play exposes the portraying of black white conflict as modernism ideology. This play is focused on the suffering and the oppression of people. In this study, the scholar uses the qualitative method as storytelling type. In theoretical framework, the critical race theory is related to this study to analyse the speech which tackles the plot, characters and setting according to the concepts of clash of cultures. This study/ this paper also shows the clashes of culture in American society. Furthermore, the implication of this paper will be presented/ indicate the social, educational, linguistic and cultural style. In fact, this paper will add something to American literature by generalizing this study to other studies about black white people. In sum, this paper is to reflect the philosophy of O’Neill in portraying the black white people. The scholar uses the critical race theory to explain the struggles/ conflicts among the human beings. The researcher also uses the qualitative approach and narrative technique to analyse data. In the same way, the data/ material is collected by textual methods and analyse by the narrative approach. This study can be generalized to another study about O’Neill’s perspectives in depicting the black white people.

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Hassan, Sanaa Lazim. "Politics and the Craft of War in Sam Shepard’s States of Shock." لارك 1, no. 20 (May 11, 2019): 30–40. http://dx.doi.org/10.31185/lark.vol1.iss20.692.

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Sam Shepard is one of the controversial modern American playwrights who wrote about issues that are concerned with the individual in America rather than the institution In his theatre, the audience expects to see everything that concerns itself with the western culture and ignores that which is global. He is very much interested in the inner landscape of America rather than its position as the leader of the world. Thus, in his drama he preaches such ideology urging the US Administration to focus the attention on the American welfare. The research attempts an analysis on his play The States of Shock using the New Historicism approach through studying the writer’s point of view concerning the craft of war. Modern politics has been very influential on both the social as well as the literary scene. Wars, whether launched or were only loomed at, has been considered the most controversial subject about which plays, poems, and books were written. During the late 1980s and early 1990s, writers

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Zaheer, Faiza, and Kamal ud Din. "American Dream or Avaratia: Critical Circumspectis of American Dream Through Ages." International Journal of English Linguistics 9, no. 3 (April 6, 2019): 57. http://dx.doi.org/10.5539/ijel.v9n3p57.

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This paper is an attempt to apply Jacques Derrida’s theory of Deconstruction to American Dream and its treatment in the language of Edward Albee’s play American Dream and other American Playwrights. Different deconstructive terms have been applied to understand and analyze the language of Albee’s The American Dream. Deconstructive terms; Différance, Erasure and Aporia have been applied to the language used by Albee to analyze the concept of American dream and its relation to its context of old American Dream as envisaged by the founding fathers and the new American Dream as defined by James Truslow Adams. These deconstructive terms will help readers to understand the themes and language of postmodern and post war American drama in general and those of Albee’s in particular. This, in turn, makes the reader realize that American dream as depicted in modern American Playwrights is materialistic, illogical, futile and bizarre: Albee’s play reflects modern American society and its sensibility. Language of modern is simple yet it communicates multi-faceted interpretations and those interpretations have been explored in the light of all these deconstructive terms. The basic purpose of involving these deconstructive terms in analyzing the language of Albee’s The American Dream and the other major postmodern American plays is not only to understand the mutability and fluidity in the diction but also to expose absurdity and apparent meaninglessness in it.

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Derrick, Patty S. "Julia Marlowe: An Actress Caught Between Traditions." Theatre Survey 32, no. 1 (May 1991): 85–105. http://dx.doi.org/10.1017/s0040557400009479.

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Julia Marlowe's career, 1887–1924, came at an awkward point in the history of the American theatre, a transitional period when old traditions were fading and new ones had not yet been established. During her thirty years as an actress, a heterogeneous mixture of plays was seen on the American stage: Shakespeare and other old classics, emotional dramas adapted from the French and German, melodramas old and new, early attempts at realism, problem plays. Most strikingly innovative in this period were the dramas of Ibsen, Shaw, and O'Neill (his early plays), which questioned conventional values and often presented a disturbing view of human life and relationships. The range of plays was varied for performers, and the acting styles employed by the actors revealed a comparable diversity. According to Garff Wilson's classification, players like Helena Modjeska performed in the classic style characterized by grace, symmetry, and poetic grandeur; Clara Morris and Fanny Davenport perfected a highly emotional style, both specialists in the art of stage weeping; Otis Skinner abandoned the classics of Shakespeare and Restoration drama and became famous in sentimental comedy and romantic costume drama such as Kismet; Ada Rehan and Viola Allen, part of the “sisterhood of sweetness and light,” achieved popularity as actresses of the “personality school”; Richard Mansfield, a thoroughly transitional figure, clung to the classics in his repertoire but also produced and performed in the modern plays of Shaw and Ibsen; Minnie Maddern Fiske championed the works of Ibsen and a style of acting called the school of psychological naturalism.

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Tariq, Sana, and Bahramand Shah. "Environment and Literary Landscape: An Ecological Criticism of Louise Erdrich’s Novel Tracks." Global Social Sciences Review IV, no. I (March 30, 2019): 158–63. http://dx.doi.org/10.31703/gssr.2019(iv-i).21.

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Connecting the environment with societies’ cultures through literature has created a new awareness of environmental issues. The current environmental crisis is a product of modern human culture. The thought of using land as a commodity and disregard for environmental ethics has worsened the ecological crisis. The paper focuses issues of environment highlighted in Native American literature. The anthropocentric behavior of Euro-Americans is contrary to Native American idea of biocentrism. For American Indians, land is considered not merely a stage on which the act is played but also as an active participant in the drama with major role to play in the lives of the characters. This article applies Ecocriticism theory on Louise Erdrich’s fiction Tracks to generate an ecological criticism of the text. This paper highlights new ways of treating the natural world, putting responsibility on humans to see how their cultures are affecting environment.

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Eliasberg, Galina. "The Russian-Jewish New York, the Balfour Declaration and the Revolution in Russia in Leon Kobrin's Play Back to Your People!" Judaic-Slavic Journal, no. 1 (2018): 25–43. http://dx.doi.org/10.31168/2658-3364.2018.1.2.2.

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The article analyzes Kobrin’s play Back to Your People! and the Yiddish press reviews of its performances in New York at Boris Thomashevsky’s Peoples Theater in December 1917 by A. Cahan, I. Vartsman, B. Gorin and others. Critics defined the genre of Kobrin’s play variously as “national drama”, “sentimental melodrama”, “modern sketch” and “tendentious drama” but unanimously noted that it was a direct response to the landmark events of 1917, including the Russian Revolution and the Balfour Declaration. These events triggered nationalist feelings and had a significant impact on Jewish socialists like Kobrin, whose writing and political views were strongly influenced by Russian populism. The play depicted a dramatic clash between two cultural models: an American banker as a “self-made man” and the Russian-Jewish intellectual and Zionist leader. It reflected the issues of inter-generational conflicts, Jewish assimilation and anti-Semitism in America. Kobrin portrayed representatives of conservative and liberal circles in American society and demonstrated different attitudes towards the tragedy experienced by European Jewry during the First World War. The depiction of the younger generation allowed Kobrin to show the American university milieu, the work of the settlement house movement and the educational institutions for the Jewish immigrants. The play touched upon the social, intellectual and political life on the Lower East Side.

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Sineokova, Tatiana Nikolaevna, Svetlana Evgenyevna Rakhmankulova, and Ekaterina Ivanovna Belyaeva. "Syntactic means of positive emotions representation in American and British drama." SHS Web of Conferences 122 (2021): 01004. http://dx.doi.org/10.1051/shsconf/202112201004.

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The paper discusses the peculiarities of syntactic constructions presenting positive emotions in the speech of characters in dramas by modern American and British playwrights. The proposed research method suggests application of a correlative classification of extralinguistic and linguistic features including paradigmatic systems of emotional states and structural forms as an instrument for qualitative and quantitative analysis. Positive emotions are classified according to the criterion of their impact on speech-thought processes. A hierarchical paradigmatic classification of structural deformations of the emotionally neutral invariant including transformations, modifications and primary syntactic features is introduced. The prognostic potential of primary syntactic features in respect of the three types of emotional states is explored. It is shown that more than a half of primary features when used in isolation belong to the first (absolute) or the second level of dominancy according to the algorithmic identification of the emotional state type and that the character of positive emotions’ effect on the speech-thought process (beneficial, boundary or destructive) correlates with the choice of syntactic structures. Differences in the number and types of syntactic constructions realized under the influence of positive and negative emotions are described. The role of qualitative and quantitative discrepancy in syntactic specificities with positive and negative emotions for further researches concerning identification issues purposes is shown.

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Edwards, Gwynne. "Theatre Workshop and the Spanish Drama." New Theatre Quarterly 23, no. 4 (November 2007): 304–16. http://dx.doi.org/10.1017/s0266464x0700022x.

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In the course of her long career as a director with Theatre Union and Theatre Workshop, Joan Littlewood staged some twenty foreign-language plays, of which three were Spanish: Lope de Vega's Fuente Ovejuna, Lorca's The Love of Don Perlimplín for Belisa in His Garden, and Fernando de Rojas's La Celestina, while there were also plans to perform Lorca's Blood Wedding. Gwynne Edwards argues in this article that Littlewood's attraction to the Spanish plays was sometimes political but always due to a similarity in performance style which, influenced by the methods of leading European theatre practitioners, sought to integrate the elements of speech, stage design, movement, music, and lighting into a harmonious whole. Indeed, even though Lorca and Littlewood worked independently of each other, their ideas on the nature and function of theatre were very similar, while Lorca's touring company, La Barraca, employed methods very close to those of Theatre Union and Theatre Workshop. Gwynne Edwards was until recently Professor of Spanish at the University of Wales, Aberystwyth, and is a specialist in Spanish theatre. Eleven of his translations of the plays of Lorca have been published by Methuen Drama, as well as translations of seventeenth-century Spanish and modern Latin American plays. Many of these have also had professional productions.

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Fan, Shouyi. "Translation of English Fiction and Drama in Modern China: Social Context, Literary Trends, and Impact." Meta 44, no. 1 (October 2, 2002): 154–77. http://dx.doi.org/10.7202/002717ar.

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Abstract This article, which is organized along a chronological-thematic framework, will briefly review the early days of translating American and British fiction and drama into Chinese, the social context in which these translations were done, the literary ideas which have affected the work of Chinese writers, and the social impact that translated works of literature and literary theory have had in various periods of literature. The bottom line is that the literary works introduced to China to date represent only the tip of the iceberg. We need more quality translations for Chinese readers and more qualified and experienced translators to complete the job.

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He, Chengzhou. "‘The Most Traditional and the Most Pioneering’: New Concept Kun Opera." New Theatre Quarterly 36, no. 3 (August 2020): 223–36. http://dx.doi.org/10.1017/s0266464x20000469.

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Featuring hybridity, transgression, and improvisation, New Concept Kun Opera refers to experimental performances by Ke Jun and other Kun Opera performers since the beginning of the twenty-first century. From telling the ancient stories to expressing the modern self, this new form marks the awakening of the performer’s subjectivity and develops a contemporary outlook by rebuilding close connections between Kun Opera and modern life. A synthetic use of intermedial resources contributes to its appeal to today’s audiences. Its experimentation succeeds in maintaining the most traditional while exploring the most pioneering, thus providing Kun Opera with the potential for renewal, as well as an alternative future for Chinese opera in general. Chengzhou He is a Yangtze River Distinguished Professor of English and Drama at the School of Foreign Studies and the School of Arts at Nanjing University. He has published widely on Western drama, intercultural theatre, and critical theory in both Chinese and English. Currently, he is the principal investigator for a national key-research project, ‘Theories in European and American Theatre and Performance Studies’.

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Khalil, Haider ibrahim, Abdullah Mohd Nawi, and Ansam Ali Flefil. "Desire Under the Elms and The Emperor Jones is a picture of tragic- conflict by O'Neill in modern American drama." Asia Proceedings of Social Sciences 6, no. 1 (April 22, 2020): 53–56. http://dx.doi.org/10.31580/apss.v6i1.1244.

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This paper aims to study The Desire Under the Elms and The Emperor Jones as the pictures of conflict. The dramatist, O’Neill attempts to reveal the metaphorical expressions in the selected plays. These metaphorical expressions lead to the tragedy in modern American drama. The researchers use the qualitative method, the narrative analysis as the storytelling techniques. This study uses the conceptual metaphor theory by Lakoff and Johnson (1980-1988) to justify the metaphorical expressions in the plays of O'Neill to tackle the characters, the actions and plot in the plays mentioned above.

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Shin, Jisook. "The Trends and Visions of Studies in Modern British and American Drama in Studies in British and American Language and Literature." British and American Language and Literature Association of Korea 137 (June 30, 2020): 45–73. http://dx.doi.org/10.21297/ballak.2020.137.45.

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Eunjeong Seo. "Patriarchal Culture and Motherhood in Modern American Drama: Long Day’s Journey Into Night and The Glass Menagerie." English21 30, no. 2 (June 2017): 25–42. http://dx.doi.org/10.35771/engdoi.2017.30.2.002.

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Olshen, Barry N. "Essays on Modern American Drama: Williams, Miller, Albee, and Shepard ed. by Dorothy Parker (review)." Modern Drama 31, no. 1 (1988): 127–30. http://dx.doi.org/10.1353/mdr.1988.0004.

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Subedi, Tika Data. "Absurdism in Atirikta Yatra by K. S. Yatri and The American Dream by Edward Albee." JMC Research Journal 7, no. 1 (December 2, 2018): 27–34. http://dx.doi.org/10.3126/jmcrj.v7i1.34357.

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The purpose of this work is to study Edward Albee and K. S. Yatri’s approach regarding the status of respective societies of America and Nepal with absurd drama following their agenda. K. S. Yatri and Edward Albee seemed to be influenced by the absurdist mode of drama which concerns much about the modern existence of social human beings. Albee follows absurdist traces in the dramatization of uncertainty, alienation and the question of freedom in The American Dream. His characters do not have fixed identities, and they suffer from their individual problems. The notion of the characters and their activities too are uncertain. In the same way, the ambiguity of existence, whether the characters really are or not, is a problem for the characters in Atirikta Yatra. The characters are based on illusions, and the line between the reality and fantasy is missing. Alienation of the human being from the self and the other is existential theme that K. S. Yatri deals with in Atirikta Yatra. Alienation in the play is caused by the lack of communication, and as a result, the isolated self is entrapped in Yatri’s characters due to their own condition. Freedom becomes a confusing question in his works as it makes the characters anxious while choosing one option among various others on their own, and it renders the characters responsible for their free choices. Though, two texts belong to divergent space however both show how absurdism has affected individuals and society everywhere at present.

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Adriaensens, Vito. "The Bernhardt of Scandinavia: Betty Nansen’s Modern Breakthrough." Nineteenth Century Theatre and Film 45, no. 1 (May 2018): 56–80. http://dx.doi.org/10.1177/1748372718794360.

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The cinema of the 1910s witnessed the birth of the film star, modelled after theatrical strategies that were spearheaded by actresses of international renown such as Sarah Bernhardt. She can be seen to have given birth to the notion of ‘famous players in famous plays’ in 1912, though in Denmark, the influential Nordisk Films Kompagni had already invested more extensively in marketing the appeal of theatrical stars that crossed over into the realm of film by this time. I will trace how Nordic drama was marketed internationally by analysing the trajectory of one of the most important, yet undervalued, actresses of the time, Betty Nansen (1873–1943) – also known as the Bernhardt of Scandinavia. Nansen was the model for the new ‘post-Ibsen’ female in Scandinavian society, both on and off the stage, and additionally a key example of how theatre and film uniquely managed to bridge the gap in Denmark. Betty Nansen’s stage and screen work reinforced each other, from the Danish Royal Theatre to the American Fox Film Corporation, and to managing her own theatre in Copenhagen, the still extant Betty Nansen Teatret.

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Jannarone, Kimberly. "Performing Opposition: Modern Theater and the Scandalized Audience. By Neil Blackadder. Westport, CT: Praeger Publishers, 2003; pp. 228. $69.95 cloth." Theatre Survey 45, no. 2 (November 2004): 312–13. http://dx.doi.org/10.1017/s0040557404370262.

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Readers excited by the recent and growing body of work on audience studies, such as Richard Butsch's The Making of American Drama, will be pleased to discover in Neil Blackadder's Performing Opposition a lucid historical examination of a very specific kind of theatre audience: the protesting one. Covering the scandals that greeted performances of plays by Hauptmann, Jarry, Synge, O'Casey, and Brecht, Blackadder provides us with a thorough reading of the events themselves, based on extensive use of firsthand accounts, reviews, court decisions, and more, as well as with a useful contextualization of the protests within the increasingly detailed—and important—history of theatre audiences.

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Smith, Karina. "From Politics to Therapy: Sistren Theatre Collective's Theatre and Outreach Work in Jamaica." New Theatre Quarterly 29, no. 1 (February 2013): 87–97. http://dx.doi.org/10.1017/s0266464x13000080.

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Sistren Theatre Collective has been producing theatre and working with community groups in Jamaica for the last thirty-five years. Over the last decade the company has changed its profile to include male drama specialists and social workers in its team. This has come about due to new funding arrangement with the Jamaican Ministry of National Security, which won a large grant from the Inter-American Development Bank to establish the Citizen Security and Justice Programme (CSJP). The CSJP has a community outreach component in which Sistren has been employed to run socio-drama workshops and provide counselling to residents in Kingston's ‘garrison’ communities. In this article Karina Smith compares Sistren's theatre and outreach work under the CSJP programme with the group's previous theatre productions and workshops, devised when it was the leading women's popular theatre company and Women in Development non-government organization in the Caribbean region. Karina Smith is a Senior Lecturer in Literary and Gender Studies in the College of the Arts at Victoria University, Melbourne, Australia. She has published on Sistren Theatre Collective's work in Modern Drama, Theatre Research International, and in Suzanne Diamond's Compelling Confessions: the Politics of Personal Disclosure (2011). Her monograph on the Caribbean community's oral histories of migration to Victoria is forthcoming from Breakdown Press.

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Tiehu, Zhang. "A Probe into the Fate of Women in the Evolution of Society—A Brief Analysis of Amanda in Tennessee Williams’ The Glass Menagerie." Studies in English Language Teaching 8, no. 3 (August 25, 2020): p153. http://dx.doi.org/10.22158/selt.v8n3p153.

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Tennessee Williams is the most famous southern American playwright in twentieth century (Adler, 1994). He is known for his strong southern cultural background, especially southern women educated in a traditional gentlewoman style. The southern women of Tennessee believed that their traditional culture was the essence of human civilization and therefore of considerable value. However, such values could not be recognized in the modern industrial society. Most of these women were sensitive and tender, suffering from industrialized society, full of all sorts of evils, and they had turned to traditional culture to seek mental peace and shelter for the moment, so they again became a lonely and frustrated. While they refused to change their cultural identity, they had to live in a modern, industrialized society that did not belong to them. Therefore, they were regarded as people living in the cultural gap, and eventually became the victims of the confrontation between traditional southern culture and modern industrial culture. As one of the most contradictory and dramatic characters in the play, Amanda is also one of the unique images of women in American drama. As Tennessee said when introducing the characters in the play, “the portrayal of Amanda is by no means derived from a specific archetype”.

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Mahfouz, Safi Mahmoud. "Tragedy in the Arab Theatre: the Neglected Genre." New Theatre Quarterly 27, no. 4 (November 2011): 368–85. http://dx.doi.org/10.1017/s0266464x11000686.

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In this article Safi Mahmoud Mahfouz investigates the current state of tragedy in the Arab theatre and suggests some of the reasons behind the lack of an authentic Arabic tragedy developed from the Aristotelian tradition. Through analyses of the few translations and adaptations into Arabic of Shakespearean and classical tragedy, he both confirms and questions the claims of non-Arabic scholars that ‘the Arab mind is incapable of producing tragedy’. While the wider theatre community has been introduced to a handful of the Arab world's most prominent dramatists in translation, many are still largely unknown and none has a claim to be a tragedian. Academic studies of Arabic tragedy are insubstantial, while tragedy, in the classical sense, plays a very minor role in Arab drama, the tendency of Arab dramatists being towards comedy or melodrama. Safi Mahmoud Mahfouz is Head of the Department of English Language and Literature at UNRWA University, Amman, Jordan. His research interests include American Literature, Arabic and Middle Eastern literatures, modern and contemporary drama, contemporary poetics, comparative literature, and synchronous and asynchronous instructional technology.

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HEDSTROM, MATTHEW S. "THE EVANGELICAL MIND IN A SECULAR AGE." Modern Intellectual History 13, no. 3 (June 1, 2015): 805–17. http://dx.doi.org/10.1017/s1479244315000165.

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“Secular intellectuals have not been kind to the evangelical mind,” writes historian Molly Worthen in the opening sentence of Apostles of Reason: The Crisis of Authority in American Evangelicalism. Her history of evangelical thought after World War II is an extended effort to understand why. The answers, it turns out, entail not only specific and important critiques of evangelical theology, but also much larger trajectories in the modern intellectual history of the United States. Theology, after all, was once “the queen of the sciences,” the very foundation of all other intellectual labor, and remained central to American academic and intellectual culture well into the nineteenth century. Beginning at least with Thomas Jefferson in the United States, however, main currents in Protestant theology and elite intellectual life began their slow and steady divergence, a process that reached critical mass early in the twentieth century. Nowhere has this divergence been more evident, or created more crisis and drama, than among evangelicals.

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Gaidash, A. "SPECIFICS OF INTERGENERATIONAL CONFLICT IN MODERN AMERICAN DRAMA (A CASE STUDY OF THE TRIP TO BOUNTIFUL, THE OLDEST LIVING GRADUATE, BETWEEN RIVERSIDE AND CRAZY)." Studia Philologica, no. 2 (2019): 98–105. http://dx.doi.org/10.28925/2311-2425.2019.13.14.

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The subject of the paper is the way of tackling late adulthood in terms of intergenerational conflicts in three plays of modern US drama. In the framework of literary gerontology the author of the article studies current views on the subject provided by British scolars (M.Hepworth, M.Mangan, J.King). A sociological perspective suggests a methodological instrument of the solidary-conflict model as an emergent construct of intergenetational ambivalence (Giarrusso, Bengtson, Lowenstein). The topic of the research is the study of specifics of intergenerational relationships between aging parents and their adult children in plays by Horton Foote, Preston Jones and Stephen Guirgis. The topic is relevant to the increasing interest to the aging studies. The goal is to understand better the difficulties of late adulthood in intergenerational conflicts and the ways of their solution. The thorough analysis of the texts in question demonstrates the efficiency of the solidarity-conflict model in the system of characters. Some elderly protagonists (Carrie Watts and Walter “Pops”) take journeys literally and psychologically. On the basis of Waxman’s concept of Reifungsroman the author of the article claims that metaphorical journeys lead the main characters to self-development and self-knowledge in their old age. The methods used in the paper are mixed: historical data processing, analyses of interdisciplinary resources (literary gerontology, social gerontology, age studies, age psychology, etc). The innovative solution lies in the application of interdisciplinary approach to close reading of drama texts. The results can be practical for classes of US literature and social gerontology. The findings of the paper inform of the intergenerational interaction on behalf of older parents in their widowhood. A promising application will be to study the specifics of intergenerational conflicts beoynd the context of the family: e.g., in the professional ambiance provided by the play “First Monday in October” by Lawrence and Lee.

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Stalter-Pace, Sunny. "Underground Theater." Transfers 5, no. 3 (December 1, 2015): 4–22. http://dx.doi.org/10.3167/trans.2015.050302.

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This article begins from the premise that modern American drama provides a useful and understudied archive of representations of mobility. It focuses on plays set on the New York City subway, using the performance studies concept of “restored behavior” to understand the way that these plays repeat and heighten the experience of subway riding. Through their repetitions, they make visible the psychological consequences of ridership under the historical and cultural constraints of the interwar period. Elmer Rice's 1929 play The Subway is read as a particularly rich exploration of the consequences of female passenger's presumed passivity and sexualization in this era. The Subway and plays like it enable scholars of mobility to better understand the ways that theatrical texts intervene in cultural conversations about urban transportation.

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Roberts, Matthew. "Ajax in America, or Catharsis in the Time of Terrorism." New Theatre Quarterly 36, no. 4 (November 2020): 306–19. http://dx.doi.org/10.1017/s0266464x20000652.

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Originally funded by the US Department of Defense in 2009, Theater of War Productions’ first project, Theater of War, performs dramatic readings of Ajax at military bases, hospitals, and academic institutions throughout the United States. Developed by Bryan Doerries, Theater of War brings awareness to the epidemic of suicide and other forms of violence committed by American military service members in the wake of the United States’ so-called ‘war on terror’. But like Ajax, American military personnel typically turn to violence only after being betrayed by the institutions that they served. This article follows how Ajax’s more modern manifestation disrupts the tragic protagonist’s status as a sacrificial victim whose death precipitates tragedy’s cathartic effect, and challenges what René Girard calls the ‘scapegoat mechanism’ and its socio-political function. It argues that Ajax’s appearance as a cathartic figure in American society provokes spectators and artists to reckon with the conditions that can cause military personnel to act violently, and inspires protests against broader hegemonic socio-political structures and the military culture that sustains them. Matthew Roberts is Assistant Professor and Librarian for Comparative and World Literature, English, and Drama at the University of Illinois at Urbana-Champaign.

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Schaller, Michael. "American Shogun: General MacArthur, Emperor Hirohito, and the Drama of Modern Japan, and: America's Japan: The First Year, 1945-46 (review)." Journal of Military History 70, no. 4 (2006): 1175–77. http://dx.doi.org/10.1353/jmh.2006.0275.

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Féral, Josette. "‘The Artwork Judges Them’: the Theatre Critic in a Changing Landscape." New Theatre Quarterly 16, no. 4 (November 2000): 307–14. http://dx.doi.org/10.1017/s0266464x00014056.

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The functions of the critic in the theatre and of his or her responsibilities towards the theatre have long been debated and disputed, and are now in a state both of flux and contradiction – flux, because of the rapidly changing state of the media in which criticism is published and the new forms which ‘publication’ can now take; contradiction, because of the dual perception of criticism as at once an ‘offensive’ art and an ‘art of solidarity’. Especially for the critic of theatre, the dilemma has always been heightened not only by the ephemerality of the art to which the review gives a vicarious and subjectified after-life, but also by the shifting sands between the journalistic and the academic landmarks of the craft. Rather than attempting impossible solutions, Josette Féral offers illuminating definitions and suggests helpful boundaries – aesthetic, cultural, social, and historical. Josette Féral is full professor in the Drama Department of the Université du Québec à Montréal. She has published several books, including Mise en scène et jeu de I'acteur, (two volumes, 1997, 1999), dealing with many European as well as North American directors, Rencontres avec Ariane Mnouchkine (1995) and Trajectoires du Soleil (1999), both on Mnouchkine's work, and La Culture contre I'art: essai d'économie politique du théâtre (1990). She has also published several articles on the theory of theatre in Canada, the United States and Europe, in journals such as The Drama Review, Modern Drama, The French Review, Discourse, Theaterschrift, Cahiers de théâtre, and Théâtre Public. She is currently President of the International Federation for Theatre Research.

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Journal articles on the topic 'Modern American drama'

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