By David Krasner
This spouse presents an unique and authoritative survey of twentieth-century American drama stories, 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 stories of prime dramatists, similar to Tennessee Williams, Arthur Miller, Eugene O'Neill and Gertrude Stein
- Allows readers to make new hyperlinks among specific performs and playwrights
- Examines the pursuits that framed the century, resembling the Harlem Renaissance, lesbian and homosexual drama, and the solo performances of the Eighties and Nineteen Nineties
- Situates American drama inside of better discussions approximately American principles and culture
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Extra info for A companion to twentieth-century American drama
But over the course of the four months between Acts 1 and 2, Ann loses touch with her daughter, Millicent, who has remained at boarding school during the holidays, rather than be ignored. Alone and away from home, Millicent has fallen in love with the school’s chauffeur and announces that she intends to marry him. Deciding that she has neglected her maternal responsibility, Ann begs Tom to take the commission and sacrifices her career as an artist to be with her daughter: ‘‘I’ll hate you because you’re doing it – and I’ll hate myself because I gave it up – and I’ll almost – hate – her.
A supernatural power promises the ailing grandmother that she will see the granddaughter before she dies. Shmendrick (1880) also agitates against the tyranny of arranged marriages. The title character is, as Nahma Sandrow puts it, a ‘‘Jewish Jerry Lewis’’ (1977: 48). In this play, the clever bride manages to dupe the antagonist so that she can marry her sweetheart. In The Two Kuni Lemels (1897), the two title characters are a foolish yeshiva boy and a sly con artist. The former frightens the girl who is his arranged bride: he is half blind, lame, as well as a stammerer.
Fusing elements of several vocational types in his cowboy figure, including that of ‘foreman,’ or superintendent, over the band of migrant laborers who performed the cowpunching and herding on the ranches and plains, Wister re-created the cowboy as a romantic knight of the plains . . [affording] knightly deference to the aristocratic owner . . [and, when necessary, killing] just as defense of private property justifies, indeed demands’’ (24–5). The novel is dedicated to Wister’s friend, President Theodore Roosevelt, whose own The Winning of the West made use of the myth of the West, ‘‘convert [ing] the history of the Frontier into a myth of origins for the Progressive movement’’ (Slotkin 1994: 532).
A companion to twentieth-century American drama by David Krasner