Modern drama in theory and practice 2

Fülszöveg

'TlKMhrco volimics ddily anci (.-Kicionlly uiki'up tho lanfilod skoinortliertvilityortho lost hiiiKlrocl years ol inlfniaiional (iraiiia ami sort it out and display it as a neat throe-ply hraiti, an orderly |ilaitiug o! the separate strdiuis ol Realism (with Naturalism), Syinholisin (with Surivalisni and tho Ahsiiixi) and Expressionism (with Epic Theatre).' James McFarlane in The Times Hiqher Hiiuciilion Supplement
1 Realism and Naturalism
This vohiine begins with the naturalistic revolt in France a^iainst traditional styles ol theatre. As realisni liecoines a EiH<)(H'an nioveinent the account moves liotn Paris to the Meininnen company and Ihscii's work as producer and playwright in Oslo, Chekhov's in Moscow, Shaw's in London, Synge's in Dublin. Among the producers are Antoine, Brahni, Gteiii, Granville-Marker, Nemirovich-Danchenko anil Stanislavsky. The early days of the Irish Dramaiit Mov emcni and the chiel realistic directors and critics in the USA alter Hclasco are... Tovább

Fülszöveg

'TlKMhrco volimics ddily anci (.-Kicionlly uiki'up tho lanfilod skoinortliertvilityortho lost hiiiKlrocl years ol inlfniaiional (iraiiia ami sort it out and display it as a neat throe-ply hraiti, an orderly |ilaitiug o! the separate strdiuis ol Realism (with Naturalism), Syinholisin (with Surivalisni and tho Ahsiiixi) and Expressionism (with Epic Theatre).' James McFarlane in The Times Hiqher Hiiuciilion Supplement
1 Realism and Naturalism
This vohiine begins with the naturalistic revolt in France a^iainst traditional styles ol theatre. As realisni liecoines a EiH<)(H'an nioveinent the account moves liotn Paris to the Meininnen company and Ihscii's work as producer and playwright in Oslo, Chekhov's in Moscow, Shaw's in London, Synge's in Dublin. Among the producers are Antoine, Brahni, Gteiii, Granville-Marker, Nemirovich-Danchenko anil Stanislavsky. The early days of the Irish Dramaiit Mov emcni and the chiel realistic directors and critics in the USA alter Hclasco are consitiered, the tradition is shown to persist in the work ol Williams and Miller in the USA and Osborne ami Bond in Englanil.
2 Symbolism, Surrealism and the Absurd
The theories of Wagner ami Nicl/sche provide the basii principles lor this volume, disseminated by the work of Appia and Craig, and ailectiiig the later plays ol Ibsen, Maeterlinck, and Lugiie-Poe's Théâtre de l'Oeuvre, .larry is seen as the precursor of surrealism; later symbolist elements are (ound in the plays of Claudel, Giraudoux, Yeats, Eliot, Lorca and Pirandello. Artaud's theatre ol cruelty is related to the work of Peter Hnmk. The theatre ol the absurd Is ilhislrated in Sartre. Beckett, Pinter and Ionesco. Recent a\ant garik' theatre in America and Britain also reveals elements of sytubolism.
3 Expressionism and Epic Theatre
Büchner is the lorerunner o( expressionism. Ibllownl hv Wedckiinl and Strinilherg. The style is then traced from Kaiser and l oller to O'Neill Wilde: and i he later O'Casey. Important producers are Reinhanit and MeveihoKI. Lpic !luatie is studied from Piscatorand Brecht to Diirrenmatt and Woiss, Arden and Bond, and i^ seen as nourishing in the more recent olishoots ordocumentai\ tluMtie. Vissza