modern drama essay questions

• English Literature
• Short Stories
• Literary Terms
• Web Stories

Modern American Drama Movements, Styles and Impact on Society

Table of Contents

Modern American drama refers to the evolution of theatrical works produced in the United States from the late 19th century to the present day. This period witnessed a transformation of dramatic styles, themes, and techniques, reflecting the changing cultural, social, and political landscape of America.

Early Influences and Beginnings:

Modern American drama can be traced back to the late 19th century when it began to take shape and differentiate itself from the European theatrical traditions. Several key factors influenced its development:

• Realism: The late 19th century saw the rise of dramatic realism in American theater, influenced by European playwrights like Henrik Ibsen. Realism aimed to portray everyday life, ordinary people, and social issues with a focus on naturalistic dialogue and settings. One of the early American realists was William Dean Howells.
• Economic and Social Change: The post-Civil War period brought significant changes to American society, including industrialization and urbanization. These transformations provided playwrights with new material for exploring contemporary issues.
• Experimental Theater: Early 20th-century experimental theaters, like the Provincetown Players, the Washington Square Players, and the Little Theater Movement, provided a platform for innovative and unconventional drama. These theaters allowed emerging playwrights to experiment with new forms and themes.
• The Harlem Renaissance: In the 1920s, the Harlem Renaissance brought African American voices to the forefront of American drama. Playwrights like Langston Hughes, Zora Neale Hurston, and August Wilson contributed to a rich and diverse body of work.

Prominent Playwrights and Their Contributions:

Modern American drama has been shaped by a diverse group of playwrights, each making unique contributions to the development of the art form. Some of the most notable playwrights and their works include:

• Arthur Miller (1915-2005): Miller is renowned for his exploration of social and political issues in plays like “Death of a Salesman” and “The Crucible.” He was a master of psychological drama and often used his work to critique American society.
• Tennessee Williams (1911-1983): Williams is celebrated for his deeply personal and emotionally charged plays, including “A Streetcar Named Desire” and “The Glass Menagerie.” His works often delved into the complexities of human relationships and personal struggles.
• Lorraine Hansberry (1930-1965): Hansberry’s “A Raisin in the Sun” was a groundbreaking work that examined race, class, and generational conflicts in America. It was one of the first plays to depict the aspirations and challenges of an African American family.
• Sam Shepard (1943-2017): Shepard’s works, such as “True West” and “Buried Child,” often explored themes of family dysfunction, identity, and the American Dream. He experimented with form and language, contributing to the development of modern American theater.
• Tony Kushner: Kushner is known for his epic two-part play “Angels in America,” which addresses the AIDS epidemic in the 1980s and its impact on the LGBTQ community. His work is characterized by its political and social relevance.
• August Wilson (1945-2005): Wilson’s ten-play cycle, often referred to as The Pittsburgh Cycle, chronicled the African American experience in each decade of the 20th century. His work, including “Fences” and “Ma Rainey’s Black Bottom,” is celebrated for its exploration of race, culture, and history.

Also Read- Fireside Poets Background ,Works and Impacts What is Dark Romanticism Theme ,Works and Impact Explain American Romanticism with examples

Significant Movements and Styles:

Modern American drama has witnessed various movements and stylistic shifts, each reflecting the changing times and artistic innovation. Some of the significant movements include:

• Expressionism: In the early 20th century, American drama was influenced by European expressionism, characterized by distorted perspectives, symbolic imagery, and a focus on the inner lives of characters. Eugene O’Neill’s “The Hairy Ape” is an example of this style.
• Theater of the Absurd: Drawing from European playwrights like Samuel Beckett and Eugène Ionesco, American dramatists like Edward Albee (“Who’s Afraid of Virginia Woolf?”) explored the futility of existence, breakdowns in communication, and the absurdity of human behavior.
• Political and Social Theater: The 1960s and 1970s saw an influx of political and socially engaged theater. Playwrights like David Mamet and Larry Kramer addressed issues such as political corruption, the AIDS crisis, and social justice.
• Postmodern Theater: Postmodernism brought a deconstruction of traditional narrative forms and a playfulness with conventions. Playwrights like Christopher Durang and Caryl Churchill experimented with meta-theatrical techniques and non-linear narratives.

Impact on American Culture and Society:

Modern American drama has played a significant role in reflecting and shaping American culture and society. It has:

• Addressed Social Issues: Many playwrights have used their work to tackle pressing social and political concerns, from civil rights and feminism to LGBTQ rights and economic inequality.
• Changed Perceptions: Plays like “A Raisin in the Sun” and “Angels in America” have contributed to changing perceptions and increasing empathy for marginalized communities.
• Explored Identity: American drama has explored questions of identity, from personal identity in family dramas to collective identity in works like August Wilson’s plays.
• Challenged Conventions: Modern American drama has pushed the boundaries of what theater can be, challenging conventional forms, narratives, and themes.
• Provided a Platform for Marginalized Voices: The works of playwrights from diverse backgrounds, such as Lorraine Hansberry, August Wilson, and Tony Kushner, have given voice to marginalized communities and their struggles.

From the late 19th century to the present, American drama has been a dynamic and ever-evolving art form that has influenced and mirrored the country’s political, social, and cultural milieu. As a result of the influence of numerous movements, styles, and playwrights who investigated a broad variety of subjects and plots, it became recognized as a unique genre. Prominent individuals such as Arthur Miller, Tennessee Williams, Lorraine Hansberry, Sam Shepard, Tony Kushner, and August Wilson have made a lasting impact on the theatrical industry by taking on important social issues, questioning norms, and giving voiceless people a forum.

Modern American drama has continuously adapted to changing times and continues to do so, exploring new themes and forms and pushing the boundaries of what theater can be. It remains an important and dynamic force in American culture, offering audiences thought-provoking and emotionally resonant experiences.

What is modern American drama?

Modern American drama refers to the evolution of theatrical works produced in the United States from the late 19th century to the present day. It reflects the changing cultural, social, and political landscape of America and encompasses a wide range of styles, themes, and movements.

Who are some notable playwrights of modern American drama?

Prominent playwrights in modern American drama include Arthur Miller, Tennessee Williams, Lorraine Hansberry, Sam Shepard, Tony Kushner, and August Wilson, among others. Each has made significant contributions to the development of the art form.

What are some key movements and styles in modern American drama?

Modern American drama has seen various movements and stylistic shifts, including realism, expressionism, the theater of the absurd, political and social theater, and postmodern theater. These movements have introduced new forms, themes, and techniques to the theatrical landscape.

How has modern American drama impacted American culture and society?

Modern American drama has played a significant role in addressing social and political issues, changing perceptions, exploring questions of identity, challenging conventions, and providing a platform for marginalized voices. It has had a profound impact on American culture and society by reflecting and shaping its ever-evolving landscape.

Is modern American drama still relevant today?

Yes, modern American drama remains highly relevant today. Contemporary playwrights continue to explore new themes, experiment with forms, and address pressing issues, ensuring that American theater remains a vital and dynamic art form. It continues to captivate and challenge audiences worldwide.

Related Posts

Name an australian author known for their memoirs, what is the significance of the character “nathanial delaney” in “the secret river”, which australian author wrote “the narrow road to the deep north”.

Attempt a critical appreciation of The Triumph of Life by P.B. Shelley.

Consider The Garden by Andrew Marvell as a didactic poem.

Why does Plato want the artists to be kept away from the ideal state

Do any of the characters surprise you at any stage in the novel Tamas

William Shakespeare Biography and Works

Discuss the theme of freedom in Frederick Douglass’ Narrative of the Life of Frederick Douglass

How does William Shakespeare use the concept of power in Richard III

Analyze the use of imagery in William Shakespeare’s sonnets

Meg 05 literary criticism & theory solved assignment 2024-25.

Poem Summary Easter by Jill Alexander Essbaum Line by Line Explanation

• Advertisement
• Privacy & Policy
• Other Links

© 2023 Literopedia

Welcome Back!

Login to your account below

Remember Me

Retrieve your password

Please enter your username or email address to reset your password.

Are you sure want to unlock this post?

Are you sure want to cancel subscription.

• Jan 22, 2023

Modern Drama Series: Existentialism and The Absurd

As a philosophical and art form, modernism arose as a result of upheavals in Western society during the late 19th and 20th centuries. In the face of a rapidly changing, urbanised culture, artists strove to self-consciously break away from traditional forms of art and to express themselves freely. From a theatrical perspective, modernism oversaw a dramatic shift that challenged the established representations of Romanticism, melodrama, and well-structured plays. Influenced by the findings of prominent psychologists, artists began to prioritise the inner workings of their characters and how to best represent them on the stage. This struggle for realism came to dominate British and American theatre in the 20th century and would foreground dramaturgy’s fidelity to real life. By mid-century, the violent disruption of society brought about by the world wars, propelled a counter art movement that rejected realism and focused primarily on symbolism and existentialism. Although opposing in many ways, these two art movements both fall under the category of modernism and would simultaneously search for innovative artistic forms to exteriorise a changed world view.

Modern Drama Series will be divided into six chapters:

1. Modern Drama Series: Modernism and Theatre  

2. Modern Drama Series: Realism and Naturalism in Miss Julie    

3. Modern Drama Series: Bernard Shaw and Satire  

4. Modern Drama Series: Existentialism and the Absurd

5. Modern Drama Series: Mid-Century British Theatre

6. Modern Drama Series: American Theatre and Tennessee Williams

Absurdism as a literary movement is closely linked to modernism, as evidenced by the works of Samuel Becket and his seminal play Waiting for Godot . By the midpoint of the twentieth century, absurdism come to be characterised as modernist literature permeated with a distinct sense of pessimism. Stylistically, absurdist writers “renounced arguing about the absurdity of the human condition”, their work merely “presents it in being — that is, in terms of concrete stage images” (Esslin, 1968, p.25). Playwrights writing absurdist works were not contemplating or debating the possibility of an absurd world, they are simply presenting an absurd world up for reflection.

Absurdism developed amidst a specific set of social and historic conditions. The cataclysmic events of the Second World War gave rise to the development of a literature of “futility” (Scott, 2013). The philosophy of technological rationalism generated as a result of the Enlightenment and industrial advancements led to the “rationalised mass production of murder” in the event of the Second World War (Scott, 2013). People’s theological guides were held in disrepute and consequently all philosophical facets of hope and purpose, such as religion, lost their credibility. This loss of transcendental and spiritual moorings was pivotal for the advent of absurdism. The ensuing sense of “metaphysical anguish” at the absurdity of the human condition, pre-empted by the destruction of the war, characterised the absurdist fiction of the period (Esslin, 1968, p.23).

The phrase ‘Theatre of the Absurd’ was coined by theatre critic Martin Esslin in his 1961 novel of the same name. In the book, Esslin defines the hallmark of absurdist theatre as “its sense that the certitudes and unshakable basic assumptions of former ages have been swept away, that they have been tested and found wanting, that they have been discredited as cheap and somewhat childish illusions” (Esslin, 1968, p.23). For the definition of ‘absurd’, Esslin turns to a quote from Ionesco “Absurd is that which is devoid of purpose … Cut off from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless” (Esslin, 1968). From his definition, absurdism and subsequently the Theatre of the Absurd is understood to be works which emphasise the purposelessness of life.

The philosophy behind absurdism, according to Esslin, is derived from Albert Camus’ best-known essay: The Myth of Sisyphus . In the essay, Camus compares the absurdity of human nature with the Greek mythological figure of Sisyphus. As a punishment for angering the gods, Sisyphus is condemned to eternally push a boulder up a mountain, and perpetually compelled to repeat this action when the boulder inevitably rolls back down. The essay was understood to surmise that humanity is essentially meaningless, and our actions have no impact. Additionally, Camus’ philosophies conjectured why, since life had lost all meaning, man should not seek escape in suicide (Esslin, 1968). Esslin posits that Camus’ Myth of Sisyphus recognised the human situation in a world of shattered beliefs.

Theatre of the Absurd confronts its audience with the inane madness of the human condition, enabling them to recognise and resultantly laugh at the fundamental absurdity of humanity. There are three fundamental cornerstones of the Absurdist Theatre according to Grace Whistler in her article Absurd Theatre: Caligula and Beyond, which are: a contemplation of mortality, a break between language and meaning, and an intertwined relationship between tragedy and comedy. Absurdist writers abandon conventional plot and character in their plays, often in their desire to “break free from the cliches of language and art into something more authentic” (Whistler, 2020). Their main aim is to express the senselessness of the human condition, and the ultimate inadequacy of rational devices and discursive thought (Whistler, 2020).

Samuel Becket is one of the notable writers associated with The Theatre of the Absurd. His plays combine tragedy and comedy to wholly depict the spectrum of human suffering: “dismay at life’s brevity” as well as “frustration at absurdity” (Newton, 2008, p.145). He suffuses comedy into his tragic subject matter — in Waiting for Godot , Beckett includes in his character descriptions the use of Charlie Chaplin-like costumes amidst the dismal ambiance. Although Beckett employs tragic techniques, he refuses to write any plot sequence involving catharsis — therefore denying the audience an “inauthentic emotional consolation” (Newton, 2008, p.146).

Whereas most plays involve an exposition, a climax and a denouement, Becket’s plays have a cyclical structure — one which Michael Worton classifies as a “diminishing spiral” (Worton, 1994). His plays never reach a final closure, and his characters are forced to “take refuge in repetition”, repeating their actions and words in order to pass the time (Worton, 1994). The play follows conversations between Vladimir and Estragon, who are waiting for the arrival of the mysterious Godot, who continually sends word that he will appear but who never does. Time is constantly suspended by the characters’ waiting, and the narrative is rendered “shapeless and directionless by its non-eventuality” (Ackerman, 2012, p.112). Endings and beginnings, structurally vital in any piece of fiction, lose their importance in the directionless narrative. The last lines of the play are as trivial as they are inconsequential:

“Estragon Well? Shall we go?

Vladimir: Pull on your trousers.

Estragon: What?

Estragon: You want me to pull off my trousers?

Vladimir: Pull ON your trousers.

Estragon: ( realizing his trousers are down ). True.

He pulls on his trousers .

Vladimir: Well? Shall we go?

Estragon: Yes, let’s go.

They do not move. Curtain. “ (Beckett, 1982, p.109)

According to Esslin, the play lacks a conventional plot because this can only exist on the presumption that events in time are significant. Similarly, the play lacks dimensional characters with agency because that relies on the presumption that individuality is real and meaningful. The play calls these assumptions into question and presents us with a wayward plot structure and unrecognisable characters (Esslin, 1968, p.75). Beckett consequently bares his own anxieties, exhibiting his despair at the inability to find a meaning in existence.

Beckett’s characters in Waiting for Godot explicitly feel the absurdity of time: “We don’t manage too badly, eh Didi, between the two us . . . We always find something, eh Didi, to give us the impression we exist?” (Beckett, 1982, p.77). They see all action as meaningless and view suicide as the sole action with notable repercussions. In doing so, they echo Camus’ philosophical dilemma in The Myth of Sisyphus — whether or not to commit suicide. However, whilst Camus posits the question calmly, Vladmir and Estragon struggle ambivalently. They oscillate between disarming humour and nonchalance to grave fear at the thought of leaving the other alone.

Beckett also makes it clear in his play that language as a medium is futile; it is unable to express the absurdity of the human condition and therefore loses its meaning entirely, losing its role as a vehicle for direct communication. He employs devices to manifest the disintegration of language, including cliches, misunderstandings, repetitions, losses of syntax, as well as numerous forms of orthographical nonsense.

“Was I sleeping, while the others suffered? Am I sleeping now? Tomorrow, when I wake, or think I do, what shall I say of today? That with Estragon my friend, at this place, until the fall of night, I waited for Godot? [. . .] We have time to grow old. The air is full of our cries. ( He listens.) But habit is a great deadener. ( He looks again at Estragon. ) At me too someone is looking, of me too someone is saying, He is sleeping, he knows nothing, let him sleep on. ( Pause .) I can’t go on! ( Pause .) What have I said?” (Beckett, 1982, p.104-5).

Founded on the philosophy of Camus, the Theatre of the Absurd strove to concretise the helplessness felt by the middle of the twentieth century. As one of the movement’s main proponents, Beckett’s work exposed the artificiality in theatrical representation as well as the devices that sustain this illusion. Simultaneously, his work also strove to depict the concurrent artificiality of life and his non-realistic techniques aided him in authentically portraying the dilemmas of human existence. His plays, such as Waiting for Godot portray an absurd world, questioning the very meaning of time and existence as well as demonstrating the inability of language to interpret the metaphysical dilemma.

Bibliographic References

Ackerman, A. (20120). Reading Modern Drama. Toronto: University of Toronto Press. Retrieved from : https://search-ebscohost- com.abc.cardiff.ac.uk/login.aspx?direct=true&db=nlebk&AN=682905&site=ehost-live&scope=site

Beckett, S. (1982). Waiting for Godot . New York: Grove Press.

Esslin, M. (1968). The Theatre of the Absurd . Harmondsworth: Penguin.

Newton, K. M. (2008) Modern Literature and the Tragic. Edinburgh: Edinburgh University Press.

Scott, A. (2013). 'A Desperate Comedy: Hope and Alienation in Samuel Beckett's "Waiting for Godot"'. Educational Philosopy and Theory , 44(4), 448-460.

Whistler, G. (2020). 'Absurd Theatre: Caligula and Beyond.' Camus' Literary Ethics. London: Palgrave Macmillan.

Worton, M. (1994). 'Waiting for Godot and Endgame: Theatre as Text.' The Cambridge Companion to Beckett . Cambridge: Cambridge University Press.

Visual Sources

• English Literature

Megan Maistre

Arcadia has an extensive catalog of articles on everything from literature to science — all available for free! If you liked this article and would like to read more, subscribe below and click the “Read More” button to discover a world of unique content.

Let the posts come to you!

Thanks for submitting!

• Ask LitCharts AI
• Discussion Question Generator
• Essay Prompt Generator
• Quiz Question Generator

• Literature Guides
• Poetry Guides
• Shakespeare Translations
• Literary Terms

Drama and Theater Research Resources

Use the links below to jump directly to any section of this guide:

Drama and Theater Basics

The history of western drama, theater and the stage , from script to stage , dramatic works, actors, and playwrights , how to read and analyze dramatic works, resources for teaching drama and theater.

Dramatic literature and the performances that bring it to life have captivated the human imagination for centuries. People have gathered everywhere from the open-air theaters of ancient Athens to modern day high school auditoriums to encounter these works of art. The resources compiled here will help you bring those experiences into the home and classroom. Through this guide, you'll learn about the history of drama and theater, find links to archives of dramatic works, and read introductions on everything from stage terminology to early English playbooks.

The resources below will help you understand what drama and theater are, and explain why studying them is an important aspect of any arts education. In addition to dictionary and encyclopedia entries, you'll find resources that distinguish between different dramatic genres and introduce you to each one.

What is Drama and Why is it Unique?

Drama is the only form of literature that is written to be performed, typically by actors on a stage. The resources below will help you understand how "drama" is defined, and how it is different from other works of prose and poetry. 

"Drama" (Wikipedia)  

Wikipedia's entry includes a general definition of drama, as well as sections on dramatic history, genres of drama, and links to many additional external resources. 

"Theater" (Wikipedia)

Wikipedia's entry on theater provides an introduction to the concept, as well as an explanation of the various types of theater. Reading this entry will help clarify what distinguishes drama from theater.

"Dramatic Literature" ( Encyclopedia Britannica ) 

This encyclopedia entry delves more deeply into the difference between drama and literature and how the two forms work together. What constitutes a play, and how does the text of a play differ from its performance? 

"What is Drama?" (Victoria and Albert Museum) 

The Victoria and Albert theater archive provides online access to numerous resources about the history of drama and performance, plus a large collection of data related to the topic. 

"What's the Difference between Drama and Theater?" ( The Guardian )

This post from  T he Guardian 's theater blog explores the difference between drama on the page and theater on the stage. It also introduces a third term: the "post-dramatic theater."

Genres of Drama and Theater  

"List of Genres" (Drama Online)  

Drama Online offers resources on many aspects of drama and theater, including a comprehensive and detailed list of dramatic genres. Each genre includes an explanation, as well as examples of works within that specific genre. 

"Theater Practitioners and Genres" (The British Library)

The British Library's online collection includes resources on a number of different theatrical styles, including the "theater of cruelty" and the "theater of the absurd." It also includes links to interviews, clips, excerpts, and more. 

"Types of Dramatic Literature" (Quizlet)

Quizlet's helpful study set contains dozens of flashcards on the main types of dramatic literature, including melodrama, farce, and satire.

In Our Time : "Tragedy" (BBC)  

This podcast from the BBC focuses exclusively on the popular genre of tragedy, exploring its origins and its place within modern society. 

Drama has been an important part of western culture since the early Greek and Roman empires. Over the centuries and across countless different societies and cultures, the purpose and prominence of dramatic literature has changed significantly. The resources in this section will help you understand those changes by focusing on particular periods in the history of drama.

Greek and Roman Drama

In ancient Greece and Rome, dramatic spectacle was often used to convey political views. Ancient Greek tragedy is also tied to the Aristotelian idea of "catharsis"—the purgation of powerful emotion through pity and fear. Many comedies and tragedies from this era, including those of Sophocles and Aeschylus, remain popular today. The resources below will help you understand classical theater.

"Theater of Ancient Rome" (Wikipedia)  

The Wikipedia entry on the theater of Ancient Rome provides an overview of the characteristics of Roman tragedy and comedy, describes the physical spaces of the Roman theaters, and offers links for further exploration. 

"Theater of Ancient Greece" (Wikipedia)  

The Wikipedia entry on the theater of Ancient Greece is a good starting point for exploring the importance of drama and theater in Greek society. It includes a section on the masks worn in classical Greek theater.

Articles on Greek and Roman Drama (Theatrehistory.com) 

Here, you'll find a collection of articles pertaining to both Greek and Roman drama, most of which are excerpted from Alfred Bates's 1906 book The Drama: Its History, Literature and Influence on Civilization.  

The Drama: Its History, Literature and Influence on Civilization (Internet Archive)

You can download Alfred Bates's seminal book on drama in various formats courtesy of this Internet Archive page, including ePub, Kindle, and PDF.

"Greek and Roman Theater Glossary" (The Ancient Theatre Archive)   

Here, you'll find a sampling of definitions pertaining to Greek and Roman drama. Clicking on each term will bring you to a page with more information and helpful images. 

"Virtual Tour of Greek and Roman Theater" (The Ancient Theatre Archive)  

Check out this "virtual reality" tour of various ancient Greek and Roman theaters. It includes information on the modern-day locations of the ruins, seating capacity, reconstructed floor plans, and a detailed history with external resources. 

"Dr. J's Illustrated Greek Theater" ( Dr. J's Illustrated Guide to the Classical World )  

This illustrated guide, part of a larger guide compiled by Dr. Janice Siegel, outlines the setup and layout of a typical theater in Ancient Greece. 

Archive of Performances of Greek and Roman Drama 

This research project aims to study ancient Greek and Roman texts in performance in a wide variety of different media. The online database contains a broad range of information on dramatic performance.  

Early Modern Drama

Few eras are better known for the quality of their dramatic art than Renaissance England. The theater flourished during the 16th– and 17th–century rules of Queen Elizabeth and King James VI, with plays by Ben Jonson, Christopher Marlowe, and William Shakespeare drawing crowds by the hundreds. The resources below will introduce you to the period and its many masterpieces.

"English Renaissance Theater" (Wikipedia)   

The Wikipedia entry on English Renaissance theater provides basic information on the period's theaters and playhouses, playwrights, actors, and performances.  

Early Modern Drama Database  

A vast tabular record of every recorded early modern English play performed in London between 1573 and 1642, this database includes each work's date, author, genre, company, and the theater where it was first performed. 

"Elizabethan Theater" (Victoria and Albert Museum)   

This informational article on theater during the Elizabethan era from the Victoria and Albert Museum includes a helpful, introductory section on William Shakespeare. 

"Database of Early English Playbooks" (Univ. of Pennsylvania)   

This database, maintained by the University of Pennsylvania, allows you to search for any early modern English dramatic work and access a wide range of information on each text.  

"Why Should We Study Elizabethan Theater?" (Oxford Univ.)   

In this podcast, Professor Tiffany Stern of Oxford University discusses why Elizabethan theater is still important and relevant in the world today.

Modern and Postmodern Drama

Twentieth-century and postmodern drama deviate from earlier theatrical eras in numerous ways. Below, you'll find resources that delve into the difficult-to-define aspects of postmodernism, and that introduce you to the most famous and experimental texts of the period. 

"A History of British Theater" (BBC)  

This timeline from the BBC details the progression of British theater from 1350 to 2015. Although it's limited in that in only discusses British theater, it is a helpful outline of how drama has changed from the early modern to contemporary periods. 

"A to Z of Modern Drama" ( The Guardian ) 

Michael Billington, theater critic for The Guardian , has a collection of articles about "what makes modern theatre tick," from "absurdism" to the comedic performers he dubs "zanies."

"Postmodern Theater" (Wikipedia)   

This Wikipedia entry covers the basic groundwork of what might constitute the "postmodern" work, which is rooted in mid-20th century European postmodern philosophy.

Examples of Postmodern Dramatic Works (Drama Online Library)   

This collection includes detailed descriptions of many postmodern dramatic texts, including what exactly makes them "postmodern." Each explores contemporary issues in non-normative ways. 

Forced Entertainment Theater Company

Forced Entertainment, based in Sheffield in England, is one of the most well-known experimental theater companies in the world. Through their performances, they push theater to its limits and question what it can express about contemporary society. 

In order to understand how a performance comes together, you must understand the venue in which it is performed. There are many different components of any theater, all of which contribute to and impact the performance itself. In this section, you'll find resources describing these different elements, along with examples of well-known theatrical spaces around the world. 

Types of Stages 

"Stage (Theatre)" (Wikipedia)

Wikipedia's entry on the stage includes a definition of the term, a section on types of staging, and another section on stage terminology. You'll also find links to further resources. 

"What the Types of Theatre Stages and Auditoria?" (Theatre Trust)   

The U.K.'s national advisory public body for theaters offers a list of the most common types of stage arrangements, including some photos and images for reference. 

"What Spaces Make Up a Theatre?" (Theatre Trust) 

This page from Theatre Trust details the most common elements of a theater complex, and includes high-quality photos for reference. 

"Creating and Staging a Devised Performance" (BBC)  

This guide from the BBC's study support resource Bitesize  offers staging diagrams and lists the pros and cons of each stage type. 

Stage Terminology

There are many terms and phrases used in relation to the theater. Did you know that "stage left" refers to the left side of the stage from the performer's point of view, rather than the audience's vantage point? Use the resources below to familiarize yourself with many other theater-related words.

Glossary of Technical Theater Terms (Theatrecrafts.com) 

This beginner's guide, from a website devoted to entertainment technology resources and history, focuses on the fundamentals of technical theater. 

"60+ Theater Terms Every Actor Should Know" (Backstage) 

This list is intended for actors, but it's informative for anyone hoping to learn about theater productions. It includes sections on architecture, tech, the actors, and the crew. 

"The Theater Dictionary" (Theatre Development Fund) 

This dictionary from the Theatre Development Fund (TDF) defines a wide variety of theater-related terms, and each term includes both a written definition and a video explication.

"Drama Vocabulary" (Teachers Pay Teachers)

This resource pack from the popular website Teachers Pay Teachers includes a worksheet with 27 different dramatic terms, as well as an accompanying quiz to test the vocabulary.                                                          

Famous Theaters Around the World

Below, you can find links to the official websites of many well-known theatrical venues. We've directed you to the theater's "About Us" pages, but we invite you to explore each website further. Of course, this is just a small selection of a vast network, so we have also included a list and database to consult for further examples. 

Shakespeare's Globe 

The reconstructed Globe Theatre, located on the south bank of the river Thames in London, is one of the most well-known theaters in the world. Built only a few feet from the site of the original Globe of Shakespeare's day, this theater is renowned for its original practice productions, which aim to mimic the conditions of early modern theater. The theater also puts on more experimental productions. 

The Public Theater 

The Public Theater in Greenwich Village, New York, was designed to provide accessible theater to everyone. The theater group is known for their Shakespeare in the Park performances, they also put on a wide variety of plays and musicals. 

The Old Vic 

Located in South London, the Old Vic is an independent, not-for-profit theater that opened in 1818. To this day, it hosts many of the greatest stage actors in the world. 

"17 Amazing Theater Cities That Aren't London or New York" (Mic)   

This article lists a number of locations that aren't immediately recognized as "theater cities," but that boast thriving theater scenes to rival New York and London. 

"Theaters Database" (Theatre Trust)   

Theatre Trust offers a searchable database of U.K. theaters from the early modern period to the current day. Enter a search term, or click "Browse A - Z." 

Hours upon hours of work precede any successful opening night. In order to mount a production, a director must be chosen and a tech crew brought on board, auditions are needed to select the cast, and an often lengthy rehearsal schedule follows. Below are resources that allow you to explore various approaches to the production process.

Rehearsal and the Cast

The rehearsal process is what brings an entire performance together; from read-throughs to blocking and direction, every aspect of a performance must be rehearsed in order to prepare it for an audience. Everyone's rehearsal experience is different, but the resources below explore some common components. 

"What Really Goes On in the Rehearsal Room?" ( The Guardian )   

This blog post from The Guardian 's theater blog discusses the rehearsal process. It considers the secretive and private nature of the rehearsal room. 

"Can You Ever Have Too Much Rehearsal?" ( The Guardian ) 

This post, also from The Guardian 's theater blog, questions how much rehearsal should precede a performance, and asks whether too much rehearsal can hurt rather than help a production. 

"First Day of Rehearsals" (Royal Shakespeare Company) 

Byron Mondahl, an actor in the Royal Shakespeare Company's recent production of Hamlet,  details his experience of the first day of rehearsal. 

"Rehearsal Process for 'Much Ado About Nothing'" (YouTube) 

In this video, a director and actors from the National Theatre in London discuss the rehearsal process. They speak to the importance of reading classic play texts, understanding why the character say what they do, and translating that into performance. 

Technical Theater Roles

While actors may be the face of a performance, those who work backstage are just as integral to the production. Those in technical theater roles ensure that everything runs smoothly. The links below will help you understand this aspect of the theatrical world.  

"Technical Theatre" (Wikibooks)  

This entry from Wikibooks offers a brief and basic overview of the various roles involved in technical theater, from the costume designer to the master electrician. 

Technical Theater Subreddit (Reddit)   

This subreddit is dedicated to people involved or interested in technical theater, providing a place to ask questions or seek advice on anything regarding the topic. 

"Glossary of Technical Theatre Terms—Jobs" (Theatrecrafts.com)   

Theatrecrafts.com provides another helpful glossary of terms, this one dedicated specifically to the various jobs that occur backstage. 

"Who Works in a Theater?" (Theatre Trust) 

Theatre Trust provides a slightly more in-depth and detailed glossary of different roles in technical theater, and describes all the ways they contribute to making a performance possible. 

Theatrical Performance

If you're acting in a production, you'll need guidance on preparing for the performance and understanding your audience. Here, you'll find resources to help you understand the unique challenges posed by performing live.  

"Exercise Class: Preparing for Performance" ( The Guardian )   

This advice from a RADA graduate gives some suggestions for how to prepare, physically and mentally, before a performance. The exercises are intended for actors to relieve stress and nerves.

"Stage vs. Screen: What the Big Difference" (New York Film Academy)   

This short but informative piece highlights the differences between watching a film and a live theater performance. It is important for any performer to understand these differences, particularly the expectations of a live theater audience.  

Should Stage Actors be Movie Stars? ( Slate )   

This piece also delves into the differences between performing on stage and on screen, questioning whether movie stars should be stage stars and vice versa. 

"What Makes a Great Theatre Actor?" (BBC)   

This guide from the BBC describes what, in the author's opinion, makes great theater actors. It highlights the difficult nature of live performance. 

Now that you understand the basic principles of drama and theater, it's time to delve into some celebrated dramatic works and learn about the people who wrote and performed them.  Below, you'll find links to texts and resources on some of the most familiar figures in the world of drama and theater. 

Famous Playwrights

Provided below are links to the Goodreads pages of some of the most celebrated playwrights of all time. These pages include a helpful biography, complete list of works, as well as quotes and forums. Although this is a very small selection, it is a good starting point to learn about some of the most often-performed and discussed dramatic works. 

• William Shakespeare 
• Anton Chekhov
• Henrik Ibsen
• Oscar Wilde
• Tennessee Williams 
• Luigi Pirandello
• Lorraine Hansberry
• Samuel Beckett
• George Bernard Shaw
• Frances Hodgson Burnett
• Arthur Miller

Famous Dramatic Works

Don't know what plays to read first? Start here. You'll find different authors' lists of the greatest or most popular plays of all time, along with databases that host hundreds of dramatic texts.

"50 Best Plays of All Time" (Time Out)  

Here is one author's list of the 50 best plays ever written, from A Raisin in the Sun to Our Town . While every list is of course subjective, this list will introduce you to well-loved plays that have stood the test of time .

101 Greatest Plays ( The Guardian )  

Michael Billington, a theater critic for The Guardian , wrote a book on his picks for "101 greatest plays." The article above comments on his choices, and considers some of the "greats" he left off the list. 

"50 Classic Plays Every Student Should Read" (Online College Courses)

This list of classic plays from an online learning center contains a brief description of each play and why you should read it, along with a link to Amazon for each one.

"The Most Popular High School Plays and Musicals" (NPR)

This article from NPR discusses the most popularly performed plays and musicals among high school students since the 1940s. 

"Plays" (Drama Online)

Drama Online provides links to over 2,000 plays and accompanying resources. You can listen to a full-cast performance of Arthur Miller's  The Crucible,  or read and interpret Shakespeare's  Macbeth  with the help of the "Play Tools" tab. (Note: while some of the site's content is free, other resources require a subscription that your school or library may have purchased.)

Folger Digital Texts

Here, you'll find meticulously edited digital texts from the Folger Shakespeare Library. When you click the "Read" button on the right, you'll be directed to a page with links to each of Shakespeare's plays.

Famous Dramatic Actors 

Get to know the actors who have brought dramatic literature to life. Below, you'll find a few authors' lists of the greatest actors to point you toward further research, along with articles and books that delve more deeply into the careers of particular stars.

"Greatest Stage Actor Poll in Pictures" ( The Telegraph ) 

Dame Judi Dench was voted the greatest stage actor in a poll by The Stage . Here,  The Telegraph offers a photo and short blurb on each of the other actors who received the most votes. 

"Who is the Greatest Stage Actor Ever?" ( The Guardian )

In this article, The Guardian comments on the same poll by  Th e Stage.  It helpfully critiques it for omissions and an overwhelming focus on British performers, while offering its own suggestions for actors who should have made the list. 

"Thespis" (Wikipedia)

Meet the ancient Greek poet Thespis, who according to Aristotle was the first to appear onstage as a character. This Wikipedia article has sections on Thespis's "alleged works" and legacy.

"Theater Actor" (Biography.com)

Explore Biography.com's webpage on famous theater actors, from Edwin Booth to Ian McKellen. Click on an actor's name and photo, and you'll be redirected to their biography page.

Great Shakespeare Actors: Burbage to Branagh (Amazon)

This series of essays by Shakespeare scholar Stanley Wells is aimed at a broad readership. Wells discusses the greatest performers of Shakespeare's works, from great tragedienne Sarah Siddons to the actor and director Kenneth Branagh.

It's often said that plays and dramatic works are meant to be seen on the stage, not read on the page. Still, there is much to be gained from reading the text of a play. You'll become more alert to the nuances of the language, and will gain a greater appreciation for the play's structure and thematic focus. Here, you'll find resources to help you read, interpret, and write about dramatic literature.

"How to Read a Play" (School Theatre)   

This illustrated guide offers 30 steps to better understand and analyze a play text, from paying close attention to the character's journey to analyzing scenic metaphor.

"Writing about Drama" (Univ. of North Carolina)   

The University of North Carolina at Chapel Hill has created a guide to writing an essay on dramatic works that walks you through the important points of analysis to consider. 

"How to Read and Enjoy a Dramatic Play" (ThoughtCo)   

This blog post considers how reading a play-text can enhance understanding of the performance and how to get the most out of it. 

"Top Tip for Analysing Drama" (YouTube)

This short video from an English teacher offers strategies for analyzing drama, noting that different tools must be used to analyze plays and novels.

While many of the resources above may help teachers plan lessons, the links below are designed specifically for that purpose. You'll find suggestions for which plays to teach, websites dedicated to the art of teaching drama, classroom activities, and entire drama units. 

"Best Works of Shakespeare to Teach in High School" (ThoughtCo)

This post from a veteran secondary school educator suggests a list of eight Shakespeare texts that high school students find interesting and informative. 

Theatre Links 

This website by Justin Cash hosts over 5,000 links to resources from across the globe on drama practitioners, styles, scripts, and stagecraft. 

Drama Activities and Games (TPT)

This Teachers Pay Teachers resource for middle school and high school students offers "drama trunk" cards for warm ups, improvisation, storytelling, language activities, and more.

Introduction to Drama (TPT)

Another Teachers Pay Teachers resource, this drama unit for middle school and high school students is comprised of six, 50-minute lesson plans, homework tasks, extension activities, and more.

"Shakespeare Teacher Resources," LitCharts Complete Guide to Shakespeare Resources

For a large selection of resources specifically devoted to teaching Shakespeare, take a look at another guide in this series,  LitCharts Complete Guide to Shakespeare Resources.

• PDFs for all 136 Lit Terms we cover
• Downloads of 2003 LitCharts Lit Guides
• Teacher Editions for every Lit Guide
• Explanations and citation info for 42,322 quotes across 2003 books
• Downloadable (PDF) line-by-line translations of every Shakespeare play

Need something? Request a new guide .

How can we improve? Share feedback .

LitCharts is hiring!

• Quizzes, saving guides, requests, plus so much more.

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

Essay Guidelines: Modern Drama

Assignment This critical writing assignment asks you to discuss any one or two of the plays on the syllabus. The topic is up to you to choose, though it is important that you do more than rehash class discussion. Given the length of the essay, you should focus on a topic that doesn't demand extensive background information, but instead allows you to make a clear, compelling thesis claim and support it with textual evidence efficiently. Incorporate one secondary source (book chapter or scholarly article) into your discussion and document it, as well as your primary source/s, using MLA style. Submit your essay as a pdf document via Blackboard

Related Papers

Mansoor Ahmed Khan

Lis Pustyni

Dorsa Ashayeri

A Companion to World Literature

Mary Luckhurst

Martin Puchner

A four-volume collection of writings on the theory of drama.

Montana Glittertush

Tragedy: A Student Handbook is a comprehensive introduction to tragedy, designed for advanced level and undergraduate students. It provides clear explanations of key concepts in tragedy and changing ideas about tragedy over time, from classical theories and Renaissance thinking through to modern interpretations. Along with short introductions to broad periods and contexts – Greek tragedy, Renaissance tragedy, European playwrights of the late 19th century, modern American tragedy, modern British tragedy and modern Irish tragedy – there are accounts of the work of significant playwrights, including Sophocles, Shakespeare, Webster, Marlowe, Ibsen, Beckett, Arthur Miller, Tennessee Williams and Brian Friel, and a close focus on key plays. The text includes short extracts from criticism, a glossary of terms and questions to provoke reflection on the way individual plays use the tragic form.

Diana Henderson

Sara B.T. Thiel

Michael Boecherer

John Barton's Playing Shakespeare is a transcription of nine BBC television programs, which originally aired in the UK in 1984. For those who did not catch the original airing of these programs, the series beautifully engaged the audience on a variety of Shakespearean topics. One could easily classify John Barton's Playing Shakespeare as a master class in acting, as Barton spends the entirety of the series directing and conversing with some of the most important Shakespearean actors of the 20th century: Sir Ian McKellan, Dame Judi Dench, Sir Ben Kingsley, and Sir Patrick Stewart to name but a few. While it might be easy to characterize this text as one best suited for drama students, John Barton's Playing Shakespeare will appeal to instructors and students alike. The book provides great insight into unlocking Shakespearean text, and encourages the reader to envision Shakespeare's drama using a variety of techniques.

Modern Drama

PHILIPPA SHEPPARD

Loading Preview

Sorry, preview is currently unavailable. You can download the paper by clicking the button above.

RELATED PAPERS

Mary Erica Zimmer

Mette Hildeman Sjölin

Pascale Aebischer

Jonathan Shandell

Shakespeare Bulletin

marguerite tassi

Giulia Batista Fabiano

Sisay Merga

Prof Dr Mohammed J A S I M Betti

International Journal of Language Academy

Hind Sabah Bilal

Sabri T . S . Ahmed

James Hamilton

Lund studies in English; 119 (2020)

Antae Journal

Nizar Zouidi

Comparative Drama

Ann Nichols

Rahmatullah Katawazai

Arnab Banerji

Ivan Canadas

New Theatre Quarterly

Richard Cave

Mark Dudgeon

Liang Luo 羅靚

Sanjay S Das

Hilary Robinson

Theatre Survey

Francesca Royster

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

Browse Course Material

Course info.

• Prof. Diana Henderson

Departments

As taught in.

• Media Studies

Learning Resource Types

Modern drama.

Moving from drawing-room comedy to absurdism, from political protest to the theater of science, we will sample a wide range of the fascinating drama that has been composed during the past century. Many of these plays are now acknowledged “classics” of modern drama; the rest are prize-winning contemporary plays that have broken new ground. We will study them both as distinguished writing and as scripts for performance. During the first century of film, television, and computers, it seems that writers for the theater have been especially attuned to the relationships between past and present and to the changing role of their medium. Paying particular attention to the importance of nationalism, group categorization, and science in shaping modern life, much of their drama suggests that current events are inseparable from a larger cultural history. Several of these plays have been reconceived for the big or small screen. Within this multimedia and socio-historical context, we will consider what drama in particular has to offer now and in the future: this subject is therefore cross-listed by Literature and Comparative Media Studies, and can help satisfy the theater history requirement for the Theater Arts major.

This is also a HASS Communication-Intensive Course, in which we will work on improving your skills, awareness, and confidence as a writer and speaker. Knowing without sharing is insufficient. A variety of writing opportunities (including revision of the first essay), class reports, and performance work will aid us in realizing these goals.

Course Meeting Times

Lectures: 2 sessions / week 1.5 hours / session

The Film Office usually can provide copies of the films we screen, and you will want to avail yourself of this resource should you decide to write on a particular screen version. If you will not be able to attend a scheduled evening screening, however, please let me know well in advance, so that we can use the office staff’s time appropriately.

Requirements

You should come to class ready and eager to discuss the assigned play. That means having read it (at least once), thought about it, and taken sufficient care of yourself to be alert in mind and body.

Each person will take a leadership role in teaching one play. This will involve generating a list of questions and possibly other helpful handouts or presentation materials; initiating the discussion; and being prepared to provide some context and answer informational questions from your colleagues. You may think of creative, exciting ways to convey key insights and aspects of the play: you may want to consult with me in advance. I will guarantee you 20-30 minutes of the class time, after which I may lead the class in directions not yet addressed (if that seems helpful). Each person will also read an “outside play” from the appended list, and give a short oral presentation to the class based on that reading and accompanying research (15 minutes maximum): in addition to allowing each one of you to become the class expert on one play, this will familiarize the group with more modern drama than we could (reasonably) manage to read collectively. I ask that you turn in to me your written materials (report outline, discussion questions, supporting materials, bibliography) after your oral presentations. Everyone will write two short (5-7 pp.) essays, the first focusing on close scene analysis, the second on the topic most compelling to you. Revision of one of the two assignments above is required; revision of both, optional. Turn in your original drafts along with revisions . [Original grade and revision grade will be averaged to replace the original grade.]

In addition, you will choose between two options: (A) write two more short (5-7 pp.) essays, most likely drawing upon the material in each of your two oral presentations, or (B) write one longer (10-12 pp.) essay, which might well draw on that research as well, in a focused, comparative format. If you intend to count this class as a seminar for purposes of the Literature concentration, minor, or major, I will ask that you choose option (B). If you would like to write an essay eligible for the Kelly Writing Prize, I suggest you aim for 15 pages instead of 10-12. I am receptive to multimedia essays, or other topic ideas you may have for your later writing assignments.

Approximate Valuation for Grading Purposes

I reserve the right to alter this weighting somewhat in exceptional circumstances; often this works to your advantage.

This is a twelve-unit subject, which assumes that you will allot nine hours/week outside the classroom for reading, writing, rehearsing, and thinking deep thoughts about twentieth-century drama.

Please Note: Written work must be submitted by the due date. Except in cases of personal emergency, late work will not receive written response and will receive a lower grade. Unless you receive an individual extension for special reasons or petition to receive a grade of Incomplete in the course, no work can be accepted after the end of the semester.

I hope that the following statement is unnecessary: conscious plagiarism of any sort is completely unacceptable . Discussion of ideas and communal learning is a primary goal of this subject; stealing others’ ideas or words, (as distinct from citing or adapting them openly and honestly) undermines this goal. Please consult my stylesheet ( PDF ) and talk with me if you have any doubts whatsoever about proper citation of sources or about standards of intellectual honesty. Any act of plagiarism will be grounds for failure of this subject . The following is the Literature Section’s official policy statement:

Plagiarism-use of another’s intellectual work without acknowledgement-is a serious offense. It is the policy of the Literature Faculty that students who plagiarize will receive an F in the subject, and that the instructor will forward the case to the Committee on Discipline. Full acknowledgement for all information obtained from sources outside the classroom must be clearly stated in all written work submitted. All ideas, arguments, and direct phrasings taken from someone else’s work must be identified and properly footnoted. Quotations from other sources must be clearly marked as distinct from the student’s own work. For further guidance on the proper forms of attribution consult the style guides available in the Writing and Communication Center in Stata and the MIT Web Site on Plagiarism .

In addition to welcoming your participation in class, I encourage you to discuss your ideas and your writing with me during office hours, or at other times convenient for us both. I hope to meet with each of you individually during the first half of the semester.

You are leaving MIT OpenCourseWare

• Social Science
• Political Science

EN353 Early Modern Drama Essay Questions 2012-13

Related documents.

Add this document to collection(s)

You can add this document to your study collection(s)

Add this document to saved

You can add this document to your saved list

Suggest us how to improve StudyLib

(For complaints, use another form )

Input it if you want to receive answer

Essay Service Examples Literature Drama

Modern Drama Essay

• Proper editing and formatting
• Free revision, title page, and bibliography
• Flexible prices and money-back guarantee

Our writers will provide you with an essay sample written from scratch: any topic, any deadline, any instructions.

Cite this paper

Related essay topics.

Get your paper done in as fast as 3 hours, 24/7.

Related articles

Most popular essays.

• Waiting for Godot

This paper aims to reflect on themes of ''Waiting for Godot'' and analyzing the characters of the...

The existential play Waiting for Godot, explores themes of absurdity, in particular, the absurdity...

After World War 2 there was a rise in political tension, societal changes and the decline of...

As noted by Dunn, J., & Stinson, M. (2011) that “for more than 30 years drama has been promoted as...

Life of Pi is a 2012 adventure drama film based on Yann Martel's 2001 novel of the same name. The...

• A Doll’s House

A Doll’s House by Henrik Ibsen is a 19th century Norwegian play with a lot of controversial parts...

This essay will analyse and discuss the duality of pairing, doubling and binary oppositions in...

Often, we fall as victims of our indecisions in our plight to please and fit in society. We fail...

Henrik Ibsen mainly expresses the theme of Power in his novel: A Doll’s House. This novel was...

Join our 150k of happy users

• Get original paper written according to your instructions
• Save time for what matters most

Fair Use Policy

EduBirdie considers academic integrity to be the essential part of the learning process and does not support any violation of the academic standards. Should you have any questions regarding our Fair Use Policy or become aware of any violations, please do not hesitate to contact us via [email protected].

We are here 24/7 to write your paper in as fast as 3 hours.

Provide your email, and we'll send you this sample!

By providing your email, you agree to our Terms & Conditions and Privacy Policy .

Say goodbye to copy-pasting!

Get custom-crafted papers for you.

Enter your email, and we'll promptly send you the full essay. No need to copy piece by piece. It's in your inbox!

• Architecture and Design
• Asian and Pacific Studies
• Business and Economics
• Classical and Ancient Near Eastern Studies
• Computer Sciences
• Cultural Studies
• Engineering
• General Interest
• Geosciences
• Industrial Chemistry
• Islamic and Middle Eastern Studies
• Jewish Studies
• Library and Information Science, Book Studies
• Life Sciences
• Linguistics and Semiotics
• Literary Studies
• Materials Sciences
• Mathematics
• Social Sciences
• Sports and Recreation
• Theology and Religion
• Publish your article
• The role of authors
• Promoting your article
• Abstracting & indexing
• Publishing Ethics
• Why publish with De Gruyter
• How to publish with De Gruyter
• Our book series
• Our subject areas
• Your digital product at De Gruyter
• Contribute to our reference works
• Product information
• Tools & resources
• Product Information
• Promotional Materials
• Orders and Inquiries
• FAQ for Library Suppliers and Book Sellers
• Repository Policy
• Free access policy
• Open Access agreements
• Database portals
• For Authors
• Customer service
• People + Culture
• Journal Management
• How to join us
• Working at De Gruyter
• Mission & Vision
• De Gruyter Foundation
• De Gruyter Ebound
• Our Responsibility
• Partner publishers

Your purchase has been completed. Your documents are now available to view.

Modernism in European Drama: Ibsen, Strindberg, Pirandello, Beckett

Essays from modern drama.

• Edited by: Christopher Innes and F.J. Marker
• X / Twitter

Please login or register with De Gruyter to order this product.

• Language: English
• Publisher: University of Toronto Press
• Copyright year: 1998
• Audience: College/higher education;Professional and scholarly;
• Main content: 336
• Published: November 3, 1998
• ISBN: 9781442677319

• _Basic Guide
• __Classical Drama
• __Classical Poetry
• __Classical Novel
• __American Literature
• __Literary Essays
• __Modern Drama
• __Modern Novel
• __Modern Poetry
• __Literary Criticism
• English for BA
• Acknowledgements

Modern Drama - Short Questions and Their Answers (From Sargodha University Past Papers) MA English Literature Part 2

• Waiting for Godot by Samuel Beckett
• Cherry Orchard by Anton Chekhov

2020  

Q1: In what two ways the theme of motherhood is introduced in Hedda Gabler?  

The theme of motherhood is signified through the characters of Thea and Hedda. Thea has been presented as a mother who can reconstruct her burnt child while Hedda has been depicted as a force to destroy children of others (manuscript) and of her own. Because she does not want any responsibilities.  View Source  

Q2: Why is Hedda so cruel towards other female characters in the play?   

Hedda is cruel towards other female characters because of her inability to do man like activities and she is jealous at the success accomplished by other female characters, especially Thea for successfully shaping a man's destiny.  View Source  

Q3: From what class struggle does Louka pass?  

The problem of Louka is that she wants to climb the social ladder from the working class to the elite class. Louka does not want to remain a servant throughout her life. Thus her struggle is to get out of the servant class into the respectable upper class.  View Source  

Q4: What is primarily anti-romantic in "Arms and the Man"?  

War is primarily an anti-romantic theme in "Arms and the Man". Shaw debunks the romantic ideas about war through the mouthpiece of Bluntschli that every soldier is afraid of death and he can go to extremes to save his life.   

Q5: Compare the thematic and structural unity in "Waiting for Godot".   

Thematic unity in "Waiting for Godot", well, lies in waiting for Godot. While the structural unity of this play has been demonstrated through the pair of characters and the choices they have been given. For instance, the pair of Tramps is given the choice to eat a turnip or a carrot.  View Source  

Q6: How is a carrot used as a symbol in "Waiting for Godot"?   

Carrot has been used as a symbol of life as Estragon puts it: "The more you eat the more worse it gets. "  View Source  

Q7: What does falling of axe signify in Cherry Orchard?  

Striking of the axe in Act IV serves as a symbolic significance for the fall of aristocratic class in Russia and an end of the Cherry Orchard in literal sense.  More Short Questions  

Q8: Define Naturalism  

Naturalism is a literary movement that sprang out of another literary movement, realism. Naturalists believed that humans were fighting a constant battle of survival against their social customs, society and the environment in which they had been living.  View Source  

Q9: Briefly introduce Epic Theatre.   

Epic Theatre was also a dramatic movement that took place in the 20th century. Epic Theatre does not relate to the scale of a play but it rather emphasizes the presentation of a world that is identical to the actual political and social world of the audience.   

Q10: Mention the major fears of Mrs. Rafi.   

The major fear of Mrs. Rafi is losing her authority as soon as she grows old. 

2019  

Q1: What is the importance of home in Hedda Gabler?  

The importance of home in "Hedda Gabler" is felt differently by different characters. Hedda feels as if she is trapped forever and she does not like the house Tesman has bought for her. While Tesman thinks that it is their "dream house".  View Source  

Q2: Why does Judge Brack never marry?  

Judge Brack does not marry in the play because he does not want to encage himself in responsibilities that would eliminate his freedom. The second reason might be his inclination to be a good "trusted friend" of the ones who are married.  View Source  

Q3: What is Naturalism? 

Already answered  in 2020. 

Q4: Why does Raina prefer Bluntschli over Sergius?  

Raina prefers Bluntschli over Sergius because of his practical thoughts about war and love. Unlike Sergius, Bluntschli does not change his centre of love. That is what impresses Raina regarding Bluntschli.   

Q5: What is the importance of tree in "Waiting for Godot"?  

The importance of the tree in this play may vary from person to person. The tree serves as an identification mark for Estragon and Viladmir to wait for Godot. While the tree also serves as a symbol of peace but its growth is not noticed by the tramps so it is difficult to interpret tree as a symbol of hope in this play.  Source1  Source2  

Q6: Why is there no climax in "Waiting for Godot"?  

There is no climax in Waiting for Godot because the main action is yet to be performed by Godot who does not arrive. Another reason behind this might be Beckett's intention to assert that life has no climax.  Source  

Q7: Who can be called the spokesman of Chekov in "Cherry Orchard" and why?  

Trofimov is the spokesman of Chekov in his "Cherry Orchard" because he alludes to the significance of the changes taking place in the Cherry Orchard or in Russia symbolically.  Source  

Q8: What is the main character flaw in Trofimov in "Cherry Orchard"?  

Trofimov's noticeable flaw in his personality is his lack of sensitive feelings. Under the strong intoxication of new ideology emerging in Russia, he cannot sense from what grief Madame Ranevsky will go through after losing access to her orchard.  Source  

Q9: How do Willy and Rose create their personal maturity?  

Both the couple create their personal maturity by learning solutions to the problems that are being faced by their society.  Recommended Reading  

Q10: Briefly describe Bond's concept of violence.   

Bond suggests that violence is necessary for humans to shape their society. Without violence, they have no future. Source

Q1: Describe the physical features of Hedda Gabler.   

The physical appearance of Hedda Gabler adds up to her personality as a cold-hearted woman. Hedda is a woman of "face and figure show refinement and distinction. Her complexion is pale and opaque. Her steel-grey eyes express a cold, unruffled repose. Her hair is of an agreeable brown, but not particularly abundant".  View Other Short Questions regarding Hedda Gabler  

Q2: From where do Hedda and George return when the play opens?  

Hedda and George return from their six months long but boring honeymoon when the play opens.   

Q3: Why is G. B. Shaw call[ed] an iconoclast?  

Bernard Shaw is called an iconoclast because he questioned old set traditions and customs and criticized certain beliefs.   

Q4: Who says this dialogue in Arms and the Man? "Soldiering, my dear madam, is the coward’s art of attacking mercilessly when you are strong, and keeping out of harm’s way when you are weak. "  

Sergius in Act II  

Q5: Why is "Waiting for Godot" written in only two acts?  

"Waiting for Godot" is only written in two acts because everything in this play is divided into two: Two tramps, a pair of Lucky and Pozzo, arrival of Messenger boy for two times.  Source  

Q6: Why do Viladmir and Estragon want to commit suicide?  

Estragon and Viladmir want to commit suicide in order to "pass the time" and as a means of recreation.  

Q7: What are the major themes of Bond's plays?  

The major themes in Bond's plays are man's ability to survive the worst as well as the uphill task of changing the world.  Source  

Q8: What does sea in "The Sea" symbolize?  

Already answered in 2015.   

Q9: Give a brief estimate of Yasha.   

Yasha is the male servant of Madame Ranevsky and grandson of Firs. He travels to France but returns back to Russia with Madame Ranevsky. He is drawn towards physical pleasures and cigar.  View Source  

Q10: Who does purchase "Cherry Orchard"? What does it signify?   

Lopakhin purchases the "Cherry Orchard". His purchasing signifies the rise of middle-class workers after the revolution while the fall of the aristocratic class.  Source  

2017  

Q1: Mention Hedda’s life before and after marriage.   

Hedda's life before marriage was an adventurous affair of time. She and Loevborg used to chat with each other when General Gabler was reading a newspaper. Her life after marriage was marked with boredom as she could not enjoy the bookish company of her husband.   

Q2: Why is Hedda called “a female Hamlet” in ‘Hedda Gabler’?  

Hedda Gabler is called the "Female Hamlet" because she is caught in almost the same circumstances as the Danish Prince. She cannot lead a life of independence because her society prohibits doing manly work. She is forced to marry a person out of her own necessity.  Source  

Q3: How does Act 1 of ‘Arms and the Man’ introduce the themes of the play?   

Act 1 of 'Arms and the Man' mainly introduces us to the theme of war and its true nature through the defeat of the Serbian army and a fugitive hurling in Raina's bedroom to save his life.   

Q4: Who says in ‘Arms and the Man’: “Act as if you expected to have your own way, not as if you expected to be ordered about”?  

Nikola. 

Q5: What does Lucky’s “Dance in a Net’ symbolize?  

When Lucky dances on the command of his master Pozzo in Act 1, Pozzo says that Lucky dances as "if he is entangled in a net". Thus, Lucky's dance symbolizes the entanglement in life caused by some circumstances.  View Source  

Q6: What benefit does Pozzo get from his blindness?  

Pozzo hears life from a new angle and sees how meaningless life repeats its cycle every day.  Source  

Q7: Who says in “The Cherry Orchard”: “Well, good-bye, old man. It’s time to get. Here  we stand pulling one another’s noses, but life goes its own way all the time”.  

LOPAKHIN  

Q8: What did Anya do in Paris?  

This question shall be answered after a thorough reading of the play.   

Q9: Differentiate between theme and motif.  

A theme is the prominent message of a literary piece of writing while a motif is the idea or a repeating pattern of certain ideas or images to illustrate the certain theme.  Source  

Q10: Give a pen-picture of Rose with reference to ‘The Sea’.  

In the play, Rose is "pale and tired". 

2016  

Q1:  Describe the physical appearance of Hedda  

Already answered in 2018  

Q2: Why is Hedda so cruel to other females in “Hedda Gabler”?  

Already answered in 2020  

Q3:  What is Raina’s nickname for Bluntschli?  

Raina calls Bluntschli with the nickname of "Chocolate Cream Soldier".   

Q4: In what ways is Captain Bluntschli an Anti-hero?  

Bluntschli is an anti-hero because of his anti-heroic traits in his character. Typical heroes are usually portrayed as brave, courageous and of higher rank. But Captain Bluntschli is an outwardly coward person and belongs to a noticeably lower class.   

Q5: Discuss Beckett’s attitude toward hope in “Waiting for Godot”.  

Beckett's attitude towards hope is like hope against hope. To simply put, he is not hoping for hope. This play is about consistent waiting, waiting for someone who will not come.   

Q6: What is the function of the boy in “Waiting for Godot”?  

The function of the boy in "Waiting for Godot" is to give a glimpse of hope for Estragon and Viladmir concerning the arrival of Godot. The boy serves as a messenger in between Godot and the pair of tramps.   

Q7: What is Varya’s relation to Mrs. Ranavksy?  

Varya is the adopted daughter of Mrs. Ranavksy.  Source  

Q8: Why does Trophimov not accept Lopakhin’s money?  

Trophimov does not accept money from Lopakhin to retain his freedom as according to him, it is money that enslaves people to people. 

Q9:  What are the Vicar’s views about Colin?   

Vicar thought that he was being summoned by Gabriel.   

Q10:  How does Bond criticize religion with regard to the aristocratic class?  

Bond criticises religion through the character of Mrs. Rafi who attache an ostentative importance to religious rites but does not care about the ones who are in need (of money like Mr. Hatch). 

2015  

Q1:  For what physical feature does Hedda not like Thea?  

Hedda does not like Thea because of her abundant hair. Hedda often shows her desire to burn Thea's hair.   

Q2:  In what extraordinary way does Hedda greet Judge Brack. When he comes to tell about the purchase of a villa?  

Hedda points her pistol at Brack and shoots at the sky, scaring Brack.   

Q3: How does Shaw employ irony in the opening lines of “Arms and The Man’?  

Shaw opens the play with a line from Virgil's epic "The Aeneid.", "Of Arms and Man I Sing". While Virgil is glorifying war, Shaw is using this mono-stich to ridicule romantic ideas about war in his "pleasant play. "  Source  

Q4: How did Petkoff become a major?  

Petkoff became major on account of the wealth he possessed. Not because he was good at warfare.  Source  

Q5: Why is “Waiting for Godot” in two acts?  

Already answered.   

Q6: Explain the idea of pairing throughout “Waiting for Godot’.  

Already answered in 2020.   

Q7: What is the metaphoric significance of sea in “The Sea”?  

Sea in "The Sea" has been used as a metaphor of destruction and as a challenge of human survival in the very play.  Source  

Q8: Why does Mrs. Rafi arrange a play?  

Mrs. Rafi arranges a play in order to satisfy her aristocratic feeling as well as to collect charity for the coast guards.   

Q9: What does Charlotta’s character represent in “The Cherry Orchard”?  

The character of Charlotta represents the free thinking of common people who holds a firm belief in "the whole Russia is our orchard".  Source  

Q10: How is Dunyasha an especially Ironic Character?  

Dunyasha is ironic in a way she longs for becoming a member of an aristocratic class and the way she powders herself to look alike an aristocratic lady.

Post a Comment

It's time to pen down your opinions!

Contact Form