Download A companion to twentieth-century American drama by David Krasner PDF

By David Krasner

This better half offers an unique and authoritative survey of twentieth-century American drama reports, written by means of the superior students and critics within the box.

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

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Additional resources for A companion to twentieth-century American drama

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3 Ethnic Theatre in America Rachel Shteir Ethnic Theatre: Origins Ethnic theatre must, first of all, be defined by its perimeters. To be ethnic is to be American, since we are all (notwithstanding Native Americans) originally from somewhere else. Moreover, ethnicity is fluid; from the first settlers arriving on these shores, becoming ‘‘American’’ could take as little as one generation. Thus, defining the history of ethnic theatre requires examining the first generation of theatres these cultures created.

H. (1915). The Case of American Drama. Boston: Houghton Mifflin. Fitch, C. (1924). Clyde Fitch and His Letters, ed. M. J. Moses and V. Gerson. Boston: Little, Brown. —— (1930). Plays by Clyde Fitch, vol. 4, ed. M. J. Moses and V. Gerson. Boston: Little, Brown. Grau, R. (1910). The Businessman in the Amusement World. New York: Broadway. Hobsbawm, E. (1989). The Age of Empire, 1875–1914. New York: Vintage. Howells, W. D. (1886). ’’ Harper’s New Monthly Magazine 73: 314–19. —— (1893). Criticism and Fiction.

Unfortunately, these groups also provoked others to create mocking caricatures through ethnic stereotypes. The power of ethnic caricature – primarily the buffoon – was so great that it lasted for decades: whether the type was German, Irish, Jewish, or Chinese, the ethnic buffoon appeared in most varieties of ethnic theatres. The comic caricature was most prevalent in blackface minstrelsy, where the actor, mostly played by Irish actors at first, blacked up. ‘‘Blacking up’’ was a technique whereby actors applied burnt cork Ethnic Theatre in America 19 to their faces and performed condescending ‘‘imitations’’ of African Americans.

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