Read e-book online A History of Modern Drama, Volume I PDF
By David Krasner
Chapter 1 creation (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 method (pages 235–258):
Chapter 18 Illusions (pages 265–274):
Chapter 19 Delusions (pages 275–280):
Chapter 20 desires (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):
Read Online or Download A History of Modern Drama, Volume I PDF
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Extra resources for A History of Modern Drama, Volume I
The Absolute Spirit would sublate conflicts by accepting both sides of an argument and derive a synthesis through rational processes. For Hegel, dramas center less on internal flaws of the protagonist than on intractable conflicts. The distinctive suffering derives from external actions that precipitate a reaction creating a collision of incommensurable wills, purposes, and forces. ”122 Conflicts of family and state, as exemplified by Sophocles’s Antigone, represent modern drama for Hegel; plays that depict conflicts by relentlessly intransigent one-sided positions constitute the grounds of collision.
He hated the status quo; yet he was a medal chaser. He defended women’s rights; yet he was probably a philanderer. 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.
But no matter the arrangement, the spirit of the play coheres. Equally impressive is the way Büchner incorporates the impact of war on ordinary people. Woyzeck is a conscript, a “lifer” in the army serving for nothing more than a paycheck, bed, and consistent meal. He agrees to serve as a guinea pig in scientific experimentation for additional pay, his body and mind no more than a cell under a microscope. His duties in the service include shaving officers as well as other menial tasks. Most importantly, Woyzeck is poor and at the disposal of warring heads-of-state, a pawn to the newly conceived notion of modern warfare.
A History of Modern Drama, Volume I by David Krasner