A companion to twentieth-century American drama by David Krasner

By David Krasner

This significant other presents an unique and authoritative survey of twentieth-century American drama reviews, written through the superior students and critics within the box.

  • Balances attention of canonical fabric with dialogue of works by way of formerly marginalized playwrights
  • Includes experiences of top dramatists, reminiscent of Tennessee Williams, Arthur Miller, Eugene O'Neill and Gertrude Stein
  • Allows readers to make new hyperlinks among specific performs and playwrights
  • Examines the routine that framed the century, equivalent to the Harlem Renaissance, lesbian and homosexual drama, and the solo performances of the Nineteen Eighties and Nineteen Nineties
  • Situates American drama inside of higher discussions approximately American principles and culture

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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. But, likewise Metamora, the solution to social injustice resides less in changing the social system – slavery – than in the hands of one heroic, white individual. The play results in noble death: George, a slave, runs away to Canada, but ultimately he, like all good slaves in the era’s fiction, dies nobly.

The protagonist of The Three of Us, however, is Rhy MacChesney, an unmarried woman and the maternal influence on two younger brothers. Crothers sets the fundamental conflicts of The Three of Us, which was a massive popular success on Broadway, in a social sphere. The villain, Berresford, threatens MacChesney’s gold mine not with force but with immoral business and personal dealings. MacChesney protects her family and her gold mine from Berresford at the expense of her reputation and the play becomes an argument against the nineteenth-century conception of female honor.

The Cambridge Companion to American Women Playwrights. Cambridge: Cambridge University Press, 82–97. Quinn, A. H. (1927). A History of American Drama from the Civil War to the Present Day, vols. 1 and 2. New York: Harper. Richardson, G. A. (1993). American Drama: From the Colonial Period Through World War I. New York: Twayne. Sheldon, E. (1953). The Boss. In A. H. ), Representative American Plays, from 1767 to the Present Day, 7th ed. New York: Appleton-Century-Crofts. Sklar, R. (1975). Movie-Made America: A Cultural History of American Movies.

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