By W. B. Worthen
The historical past of drama is usually considered as a chain of inert "styles." Tracing British and American level drama from the Eighteen Eighties onward, W. B. Worthen as an alternative sees drama because the interaction of textual content, degree construction, and audience.How are audiences manipulated? What makes drama significant? Worthen identifies 3 rhetorical options that distinguish an O'Neill play from a Yeats, or those from a Brecht. the place real looking theater depends on the "natural" traits of the degree scene, poetic theater makes use of the poet's be aware, the textual content, to manage functionality. sleek political theater, in contrast, brazenly areas the viewers on the heart of its rhetorical designs, and the drama of the postwar interval is proven to enhance a number post-Brechtian practices that make the viewers the topic of the play.Worthen's ebook merits the eye of any literary critic or critical theatergoer drawn to the connection among smooth drama and the spectator.
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Extra resources for Modern Drama and the Rhetoric of Theater
Example text
In Votes for Women! 17 While Paula's past destroys her future, Vida's past authorizes and validates her political activity. Reversing the paradigm of her friend Henry James's The Bostonians, in which the child suffrageorator Verena Tarrant is moved by otherworldly inspiration, Robins locates Vida's developing mastery of platform oratory in the au17. In Harley Granville Barker's Waste (1907) abortion also comes to haunt a man poised at the brink of political success. Barker avoided the word "abortion" but could not escape the censorship; Waste was given two private performances in 1907 but not produced publicly until 1936.
Lecturing at Harvard in 1886, the American playwright Bronson Howard outlined the conditions of dramatic survival for characters like Paula: "In England and America, the death of a pure woman on the stage is not 'satisfactory,' except when the play rises to the dignity of tragedy. The death, in an ordinary play, of a woman who is not pure, as in the case of 'Frou-Frou,' is perfectly satisfactory, for the reason that it is inevitable. . and so an audience looks with complacent tears on the death of an erring woman" (2728).
The brilliance with which Paula enacts the manners and customs of the St. James's parish renders her (footnote continued from previous page) views are represented by Drummle "is thus challenged and undercut by the action of a play that undermines the very perspective the audience is encouraged to adopt. . The play lacks, as the well-made play must, a convincing advocate of alternative values; but the action of the play itself becomes an advocate of alternative values, an action that outruns, and demonstrates the limitations of, the benevolent perspective of its raisonneur" (89).