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By David Krasner

A historical past of recent Drama: Volume II explores a striking breadth of themes and analytical ways to the dramatic works, authors, and transitional occasions and routine that formed global drama from 1960 via to the sunrise of the hot millennium.

  • Features unique analyses of performs and playwrights, studying the impact of quite a lot of writers, from mainstream icons reminiscent of Harold Pinter and Edward Albee, to extra unorthodox works by means of Peter Weiss and Sarah Kane
  • Provides international insurance of either English and non-English dramas – together with works from Africa and Asia to the center East
  • Considers the impact of paintings, song, literature, structure, society, politics, tradition, and philosophy at the formation of postmodern dramatic literature
  • Combines wide-ranging subject matters with unique theories, overseas point of view, and philosophical and cultural context

Completes a finished two-part paintings interpreting glossy international drama, and along A historical past of contemporary Drama: Volume I, deals readers whole insurance of a whole century within the evolution of worldwide dramatic literature.

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Extra resources for A history of modern drama. Volume II : 1960-2000

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35 The need for unification proposed by modernists in the shape of “high art,” or at least the recognition of unity and its antithesis as Hegel would have it, is denounced as reactionary and ill‐conceived by postmodernists, who celebrate pluralism, heterogeneity, incommensurability, and rejecting claims of high and low aesthetics. While postmodernism builds on the triumphalism of the avant‐garde, it simulta­ neously expresses a critical reflection on modernist history; while it may share a revival or continuance of certain modernist principles, it jettisons monolithic ideas of “high art” as false values, operating instead on the assumption that knowledge and identity are “discursive constructions” – language and knowledge shape (construct) reality and not the other way around.

In fact, the resistance to definition and meaning is in itself the very feature of postmodernism; like deconstruction, it defies formal rules or signifiers, landing on the side of free‐floating nebula. 59 In History of Structuralism, François Dosse asserts that, The various binary couples – signifier/signified, nature/culture, voice/writing, perceptible/intelligible – that compose the very instrument of structural analysis were put into question [by poststructuralism], pluralized, disseminated, in an infinite game that peeled, disjoined, and dissected the meaning of words, tracking down every master word, every transcendence.

Conservatives were able to co‐opt liberals fearful of impending anarchy, sexual liberation, and the demise of the traditional social order, leading to a reactionary government crackdown. The 1980s experienced a backlash similar to what occurred in Europe during the mid‐nineteenth century. Conservatism arose during the 1980s, the impact of which reverberated in plays such as Top Girls and Angels in America (both of which are exten­ sively examined here). One of the most significant observations regarding the systemic shift from pre‐ to post‐1960 social conditions comes from Immanuel Wallerstein, whose astute observation regarding the transition is worth quoting: The explosions of 1968 contained two themes repeated virtually every­ where, whatever the local context.

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