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 positive 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 method (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

Chekhov aimed his sharpest wit against pretentiousness, the puffery of oversized egos; yet even in his most shortsighted and noxious characters he left room for compassion. ”110 Likewise Ibsen and Strindberg, he observed the decay of the aristocracy and the rise of the bourgeoisie. Lopakhin’s purchase of Lyubov Andreevna’s land and turning it into summer cottages in Chekhov’s The Cherry Orchard is emblematic of the global transition from wealthy, aristocratic landowners to capitalist dispensers of private property.

But at least they were cared for by feudal structure and organization. By contrast, the new proletariat was conceived of as a social class produced by economic forces of labor and wage relationships. The roots of this transition enabled a sense of economic dislocation, the rise of competitiveness, and the demise of earlier forms of social sympathy and solidarity. Capitalism’s demand for individualism swept away the old order of Introduction 31 feudal unity; the new class of poor was completely cast adrift.

He read voraciously and knew virtually every important thinker of his age; yet he denied being influenced by anyone. He supported human rights; yet he viewed society as a mob of trolls clamoring for conformity. He preached non-conformity; yet he was fiercely disciplined, writing a new play virtually every two years. He was an innovator of drama; yet his dramatic form is wedded to nineteenth-century melodrama. His reputation was in drama; yet he wanted to be a poet. On his deathbed, after experiencing two debilitating strokes, it was assumed he was no longer coherent.

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