By David Krasner
This spouse presents an unique and authoritative survey of twentieth-century American drama reviews, written by way of the superior students and critics within the box.
- Balances attention of canonical fabric with dialogue of works through formerly marginalized playwrights
- Includes reports of major dramatists, equivalent to Tennessee Williams, Arthur Miller, Eugene O'Neill and Gertrude Stein
- Allows readers to make new hyperlinks among specific performs and playwrights
- Examines the hobbies that framed the century, reminiscent of the Harlem Renaissance, lesbian and homosexual drama, and the solo performances of the Eighties and Nineteen Nineties
- Situates American drama inside better discussions approximately American rules and culture
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Additional info for A companion to twentieth-century American drama
The staging of Harriet Beecher Stowe’s 500-page novel of social justice, Uncle Tom’s Cabin, adapted by white producer George L. Aiken in 1853 (one of among several adaptations), demonstrates how ethnic and racial identities can become closely intertwined. Even more than Metamora (with its conflation of Native American character and white popular actor), Uncle Tom’s Cabin demonstrates how ethnic caricatures evolve into a more complicated social representation: in the plot, evil white characters exist alongside noble African American characters, and vice versa.
The Age of Empire, 1875–1914. New York: Vintage. Howells, W. D. (1886). ’’ Harper’s New Monthly Magazine 73: 314–19. —— (1893). Criticism and Fiction. New York: Harper. Kern, S. (1983). The Culture and Time and Space, 1880–1918. Cambridge, MA: Harvard University Press. Kolko, G. (1963). The Triumph of Conservatism. New York: Free Press of Glencoe. Lears, T. J. J. (1983). No Place of Grace: Antimodernism and the Transformation of American Culture, 1880– 1920. Chicago: University of Chicago Press.
David’s Violin is also the first Yiddish play to present the Jewish entertainer as a charismatic figure that The Jazz Singer would later accomplish in the mid-1920s. Although David’s Violin is written in daytsmerish, the ‘‘elevated’’ stage Yiddish evolved by that first generation of immigrants, it is also ‘‘baked’’ – full of vaudeville stage business and comic subplots (Slobin 1996: 88). During the height of the Yiddish theatre, music helped to create its distinct flavor and uniqueness. By the 1890s, few if any Yiddish theatre productions occurred without songs.
A companion to twentieth-century American drama by David Krasner