By David Krasner

Content material:
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 approach (pages 235–258):
Chapter 18 Illusions (pages 265–274):
Chapter 19 Delusions (pages 275–280):
Chapter 20 goals (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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Extra info for A History of Modern Drama, Volume I

Sample text

85 George Steiner notes that “Büchner’s instantaneous ripeness staggers belief. ”88 He authored three plays during the mid-1830s, two of which, Danton’s Death (Dantons Tod, 1835) and Woyzeck (found in fragments decades after his death), are touchstones for critical thinking and writing on modern drama. ”89 Before moving on to the three giants of modern drama – Ibsen, Strindberg, and Chekhov – it behooves us to consider the importance of Büchner as an arbiter of things to come. Büchner’s Danton’s Death and Woyzeck dwell in the realm of the philosophical, historical, epic, and tragic.

The world of appearances is what Kant said: it is all we can fathom; and for Schopenhauer and Büchner the life urgings prompted by the will (desire) are nothing more than urges towards preservation and consumption. The use of things and their possession, as in the case of politics and love in Danton’s Death and Woyzeck respectively, fail because we cannot truly know what they mean or what they are except as mere possession – mere phenomena that eventually disappoint. Desire is illusionary; we are nothing more than riding a wave.

Poverty was not new, but the context and source of poverty was, and this new proletariat experienced nothing less than a traumatic condition. Büchner condemns this modernized world for its alienation and de-humanization. ” For Brombert, “the most telling moment is doubtless the instant of revelation of raw sexuality as Woyzeck, standing outside the open window of the inn, watches Marie and the Drum Major dance by in a symbolic embrace to the accompaniment of Marie’s repeated goading: ‘On and on.

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