Download e-book for kindle: Thematic Guide to Modern Drama by Susan C. W. Abbotson
By Susan C. W. Abbotson
The uniquely thematic technique of this source may help academics and librarians establish pertinent works of recent drama for college students, and should improve readers' realizing of those works. Ninety-nine performs are mentioned, masking a wide diversity of works spanning greater than 100 years.
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Extra info for Thematic Guide to Modern Drama
It is impossible to represent them all in this brief chapter, but it should be acknowledged that each group has its own distinct culture. The relatively limited period in which people of Asian ethnicity have lived in America and had the luxury of artistic expression beyond survival or evading prejudice has resulted in Asian American playwrights of predominantly Japanese, Chinese, and Korean origins, and this chapter considers plays based on these three ethnic groups. What they have in common is that while each playwright looks at the Asian American experience from a different angle, they collectively expose stereotypes, broaden our perspective of Asian American identity, and encourage people to adopt a greater ethnic understanding and tolerance.
He wrote an afterword in which he denounces sentimental interpretations of his play, and explains that Higgins must remain an inveterate bachelor, while Liza marries the penniless Freddy, and, after financial difficulties, opens a flower shop with funds provided by Pickering. The fact is, Higgins is too self-involved to be a suitable husband for anyone. His reshaping of Liza, as he corrects her accent and grammar, dresses her in beautiful clothes, and moves her into polite society, is simply a power game, by which he displays the power inherent in class status, money, and gender.
The irony, of course, is that these old ladies are, in fact, serial killers: they could never tell a lie, but they have killed eleven people, and are about to kill another as the curtain goes down, just to show their nephew, Jonathan, that they have a higher score of corpses. What is even more ironic is the way the audience is led to applaud their efforts. Aside from the suggestion that what they do could be seen as a mercy to those they “help,” Kesselring’s presentation of two determined old ladies, who for all their pleasantries are apparently not as toothless as they might seem, must surely make audiences reconsider their often dismissive assessment of old people in general.
Thematic Guide to Modern Drama by Susan C. W. Abbotson