A history of modern drama. Volume II : 1960-2000 by David Krasner

By David Krasner

A historical past of contemporary Drama: Volume II explores a impressive breadth of issues and analytical techniques to the dramatic works, authors, and transitional occasions and pursuits that formed international drama from 1960 via to the sunrise of the hot millennium.

  • Features specific analyses of performs and playwrights, reading the effect of quite a lot of writers, from mainstream icons comparable to Harold Pinter and Edward Albee, to extra unorthodox works via Peter Weiss and Sarah Kane
  • Provides worldwide assurance of either English and non-English dramas – together with works from Africa and Asia to the center East
  • Considers the impression of paintings, track, literature, structure, society, politics, tradition, and philosophy at the formation of postmodern dramatic literature
  • Combines wide-ranging subject matters with unique theories, overseas standpoint, and philosophical and cultural context

Completes a complete two-part paintings reading glossy international drama, and along A background of recent Drama: Volume I, deals readers whole assurance of a whole century within the evolution of worldwide dramatic literature.

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Resisting definition Postmodernism is not modernism’s alterity, at least not in the same way modernity was poised as the alterity to classicism. In fact, the resistance to definition and meaning is in itself the very feature of postmodernism; like deconstruction, it defies formal rules or signifiers, landing on the side of free‐floating nebula. 59 In History of Structuralism, François Dosse asserts that, The various binary couples – signifier/signified, nature/culture, voice/writing, perceptible/intelligible – that compose the very instrument of structural analysis were put into question [by poststructuralism], pluralized, disseminated, in an infinite game that peeled, disjoined, and dissected the meaning of words, tracking down every master word, every transcendence.

39 To break down this new era’s aesthetics, I examine some of the key constituents (in no particular order) of postmodernism. Constituents of Postmodernism Irreverence and bricolage Postmodernism circa 1960 to 2000 translates artistically into irreverence for icons (drawing a moustache on the Mona Lisa, for instance), encouraging collage (think of a Kurt Vonnegut novel), being skeptical of the poet Keat’s equation of beauty and truth, antithetical to the high seriousness of mod­ ernism, willfully disregarding hierarchies and value judgments, celebrating graffiti art, frivolity over functionalism, discarding judgments, mixing gauche and kitsch with “high art” (polyester and silk, for instance), and ultimately a bricolage aesthetic.

Andy Warhol, Roy Lichtenstein, Keith Herring, Louise Bourgeois, and Jean‐Michel Basquiat are postmodern artists because they mix kitsch with classicism, soup cans and graffiti formalized and struc­ tured, or child‐like images as aesthetics. If, for instance, modernism claims that a landscape painting is different from (and superior to) a cartographical map because it is based on, to bor­ row Kant’s terminology, “aesthetic judgment” – lacking utility but valued as “artistic” – postmodernism would argue that there is little difference between a landscape painting and a map on your GPS driving system because to call one art and the other functional is to assert a binary and authoritarian hierarchy.

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